British blues rock band
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45 episodes with Ten Years After
4 episodes with Ten Years After
4 episodes with Ten Years After
3 episodes with Ten Years After
3 episodes with Ten Years After
4 episodes with Ten Years After
2 episodes with Ten Years After
2 episodes with Ten Years After
2 episodes with Ten Years After
"If I had ever been here beforeI would probably know just what to doDon't you?And I feel like I've been here before, feel, Like I've been here beforeWe have all been here before"Let's share this experience through the magic of Music. Beginning with a set of remembrance of those that have served and sacrificed to keep our precious freedom, Joining us are Billy Joel, The Clash, Tom Paxton, Earth Opera, Frank Zappa, Flo & Eddie, Traffic, Ten Years After, Richie Havens, Elton John, Nilsson, Spanky & Our Gang, Quicksilver Messenger Service, Earth, Wind & Fire, Simon & Garfunkel, Tom Waits, Bob Dylan, The Mamas & Papas, Dave Mason, Procol Harum and Crosby, Stills, Nash & Young.
"No, I would not give you false hopeOn this strange and mournful dayBut the mother and child reunionIs only a motion away"Please join me for a musical reunion and pay tribute to Mother's on this week's Super Sounds Of The 70's, Joining us are Wishbone Ash, David Bowie, Kate Bush, Joni Mitchell, Alan Parsons Project, Yes, Ten Years After, Randy Newman, Carly Simon, James Taylor, Pink Floyd, John Lennon, Neil Young, Savoy Brown, Pure Prairie League, Lou reed, Mott The Hoople, Mahavishnu Orchestra, Fleetwood Mac, The Beatles, Eric Clapton, Queen, Emerson, Lake & Palmer and Paul Simon.
"You never give me your moneyYou only give me your funny paperAnd in the middle of negotiationsYou break down"This is only partially true, many of you do but we still need more to keep bringing you the Music you deserve. Please join me this afternoon as I seek your support for the SoCal Sound and Super Sounds Of The 70's. Joining us are David Bowie, The Moody Blues, Free, Pink Floyd, Jeff Beck, Humble Pie, The Byrds, Robin Trower, The Grateful Dead, Motels, Talking Heads, Ted Nugent & The Amboy Dukes, Roxy Music, Steve Miller Band, Emerson Lake & Palmer, Ten Years After, Fleetwood Mac, Savoy Brown, Traffic and The Beatles.
"61 Years ago today, the Beatles made their 2nd appearance on the Ed Sullivan Show", it was a different time...My world is slowly fallin' downAnd the airs not good to breatheAnd those of us who care enoughWe have to do somethingOh... what you gonna do about me?Oh... what you gonna do about me?"Please join us this afternoon, I can't promise solving the world's problems but I can promise 2 hours of terrific tunes, many of which you won't hear anywhere else. Joining us this afternoon are [Batdorf and Rodney, Joni Mitchell, Pat Metheny, Genesis, America, The Kinks, Beatles, Moody Blues, Steely Dan, Spirit, Led Zeppelin, Savoy Brown, Jefferson Airplane, Gypsy, Loggins & Messina, Renaissance, Ten Years After, Peter Frampton, Procol Harum, Rod Stewart and Quicksilver Messenger Service....
"The highways jammed with broken heroesOn a last chance power driveEverybody's out on the run tonightBut there's no place left to hide"Avoid the jammed highways and join me on this week's Super Sounds Of The 70's. Coming along are David Bowie, 10CC, Sugarloaf, The Stooges, Grass Roots, Doobie Brothers, Guess Who, Hollies, Rolling Stones, Spooky Tooth, Boz Scaggs, Ten Years After, The Pretenders, Elvin Bishop, Tom Petty, Elvis Costello, The Eagles and Bruce Springsteen.
C'est un moment à part dans l'histoire de la musique, un moment de pure spontanéité qui serait, aujourd'hui, inenvisageable. En octobre 1969, Amougies, 957 habitants et une quinzaine de bars, petit village calme du pays des collines, voit débarquer en ses rues et ses prairies une horde de hippies. Ils sont des dizaines de milliers (jusqu'à 100.000 se murmure-t-il) à se rendre à cet incroyable festival qui va accueillir sur sa scène géante des artistes tels que Franck Zappa, Pink Floyd, Ten Years After, Captain Beefheart, Archie Shepp, the Art Ensemble of Chicago et bien d'autres. Comment ce festival a-t-il vu le jour dans cette petite commune ? Que reste-t-il de ce moment unique dans les souvenirs des habitant.e.s ? Comment la rencontre entre les hippies et les villageois.es s'est-elle déroulée ? Qu'est devenu Amougies aujourd'hui ? C'est la journaliste du magazine Médor Chloé Andries qui raconte au miro de Jonathan Remy cette histoire habitée de souvenirs échevelés et de musiques magiques. Sujets traités : Festival, Amougies, hippies, musique, village Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
"It's nature's way of telling you something's wrongIt's nature's way of telling you in a songIt's nature's way of receiving you, It's nature's way of retrieving youIt's nature's way of telling youSomething's wrong"Those of us in Southern California can certainly relate to this...Please join me this afternoon on this weeks Super Sounds Of The 70's. Joining us are Dire Straits, Gordon Lightfoot, The James Gang, Eric Clapton, Fleetwood Mac, Led Zeppelin, Hall & Oates, Seatrain, Ellen McIllwaine, Ten Years After, Traffic, Jethro Tull, The Band, Small Faces, Doobie Brothers, Eagles, Kinks, Grateful Dead, The Who, Rolling Stones, Janis Joplin, Tufano & Giamerese, Beatles, Bob Dylan, Jackson Browne and Spirit...
Today's program features tuneage from Radiohead, Counting Crows, Joni Mitchell, John Lennon, Dire Straits, Buffalo Springfield, Bob Dylan, The Mark Almond Band, Chicago, Blood Sweat & Tears, Cream, Earth Opera, Steppenwolf, Ten Years After, Steve Miller Band, The Cars, Move, Faces, Traffic, Vanilla Fudge, The Who, Kinks and Searchers.
Hoy 19 de diciembre en La Gran Travesía podréis escuchar a Arde Bogotá que acaban de anunciar nuevos conciertos para 2025, entre ellas la actuación en el festival Cartagena Suena, el próximo 5 de julio. Toda la información y venta de entradas en su web https://www.exoplaneta.es/ También podréis escuchar a Ryan Adams, Foo Fighters, los Flamin´ Groovies, Neil Young, Bob Marley, Elvis Presley, Beatles, Ten Years After, The Plimsouls, Violent Femmes, Ramones, Turbowolf, The Brew... y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs https://npqeditores.com/producto/la-gran-travesia-del-rock/ ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.
In the final episode of Season 2, Charles welcomes Jim Turbert, an American communication technologist and podcaster residing in Rotterdam. Jim reflects on his first concert at age 13, where Ringo Starr's performance left a lasting impression, partly thanks to his music-loving uncle who influenced his musical tastes. He recounts various memorable concerts, including a powerful Afghan Wigs show in Boston, where lead singer Greg Dooley's storytelling made the performance unforgettable, even despite later learning Dooley's on-stage declaration of being on acid was untrue.Jim shares his appreciation for technically proficient artists like Mike Watt and Nels Cline, recounting a particularly electrifying performance that displayed exceptional guitar skills. His experiences underscore the importance of venue acoustics and crowd energy, such as how silence and attention at a Sigur Rós concert added to the immersive quality of the show. Conversely, he describes a disappointing Eagles concert during their 'When Hell Freezes Over' tour due to multiple breaks and inflated egos.A standout anecdote involves Jim losing a shoe while crowd-surfing at a Nirvana concert, only to have Kurt Cobain toss it backstage, leaving him to navigate the chilly New England night unshod. Amid these personal stories, Jim also touches on the broader implications of concert experiences, including nostalgic reflections on hitchhiking back from a Sonic Youth concert with friends and the pure joy of witnessing an early White Stripes performance in a frat house setting.In addition to sharing concert stories, Jim speaks about his podcast, 'Feel Free to Deviate,' which delves into people's career paths and their relationships with success. The podcast captures various personal and professional journeys, underscoring Jim's curiosity and communication skills.BANDS: Afghan Wigs, Aerosmith, Beatles, Black Crows, Blackfoot, Breeders, Clarence Clemens, Deep Purple, Dire Straits, Dr. John, The Eagles, Joe Walsh, Led Zeppelin, Living Color, Lounge Acts, Mason Ruffner, Ministry, Minutemen, Nazareth, Nick Cave, Nils Lofgren, Otoboke Beaver, Porno for Pyros, Radiohead, Ringo Starr, Rolling Stones, Sigur Rós, Soundgarden, Stevie Ray Vaughan, Sonic Youth, Ten Years After, the Doors, U2, Walter Trout, White Stripes, Willie Preston.VENUES: T. T. the Bears, Row Town, Lansdowne Street, Lake Compounce, University of Massachusetts, Panarchy, Orpheum, University of Vermont, Berklee Performance Center. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708
The Beatles, Ten Years After, Procol Harum, Kansas, David Bowie.
"So we bought a pack of cigarettes and Mrs. Wagner's piesAnd walked off to look for AmericaCounting the cars on the New Jersey TurnpikeThey've all come to look for AmericaAll come to look for America all come to look for America"It's been a long week and Democracy prevailed. Whether you're celebrating or grieving please join me for 2 hours of terrific tunes with this week's Whole 'Nuther Thing on KXFM 104.7.Joining us are Randy Newman, XTC, Coldplay, The Who, Rolling Stones, Sons of Champlin, Love, Vanilla Fudge, Ray Charles, Bob Dylan, Traffic, Radiohead, Buffalo Springfield, Blood, Sweat & Tears, Ten Years After, Chuck Mangione, Tom Petty & The Heartbreakers and Simon & Garfunkel.
Esta semana, en Islas de Robinson, una de clásicos entre 1969 y 1970. Suenan: TASTE - "SAME OLD STORY" ("TASTE", 1969) / GRAND FUNK RAILROAD - "WINTER AND MY SOUL" ("GRAND FUNK", 1969 ) / "FREE - "WORRY" ("TONS OF SOBS", 1969) / TEN YEARS AFTER - "BAD SCENE" ("SSSSH", 1969) / CREEDENCE CLEARWATER REVIVAL - "PENTHOUSE PAUPER" ("BAYOU COUNTRY", 1969) / LED ZEPPELIN - "WHAT IS AND WHAT SHOULD NEVER BE" ("LED ZEPPELIN II", 1969) / BLIND FAITH - "HAD TO CRY TODAY" ("BLIND FAITH", 1969) / HUMBLE PIE - "I'LL GO ALONE" ("AS SAFE AS YESTERDAY IS", 1969) / THE JAMES GANG - "I DON'T HAVE THE TIME" (YER'ALBUM", 1969) / LESLIE WEST - "DREAMS OF MILK AND HONEY" ("MOUNTAIN", 1969) / COLOSSEUM - "THE KETTLE" ("VALENTYNE SUITE", 1969) / FLEETWOOD MAC - "RATTLESNAKE SHAKE" ("THE PLAY ON", 1969) / CACTUS - "YOU CAN'T JUDGE A BOOK BY THE COVER" ("CACTUS", 1970) /Escuchar audio
Hoy en La Gran Travesía podréis escuchar a gente como Amy Winehouse, Ten Years After, R.E.M, Orquesta del Desierto, Afghan Whigs, Jaded Hearts Club, Refused, Johnny Winter, China Drum, Ben E. King... ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Silvia Rotlant, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC, Juan Carlos Ramírez, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Jarebua, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.
TSORR Radio Show S7E43 aired on 19h00 on Rebel Rock Radio on 24 Oct 2024. The 'artists featured' list at the bottom of the post is in order of play if you are jumping around. We said cheers and RIP to Iron Maiden's first vocalist Paul Di Anno, we checked out new releases from Michael Schenker Group, Massive Wagons, Myles Kennedy, and The New Roses and chatted with South African guitar hero Jackson Colt. His latest track, 'Monsoon', produced by Mark Haze, is amazing as you will hear. The Twisted Triplets featured 3 different tracks titled ‘Never Surrender'. We heard from Saxon, Risingfall , and Blackstone Cherry. We had Avenged Sevenfold in the Immortals slot with ‘A Little Piece of Heaven' and the Diabolical Challenge took a look at 4 albums filed under the ‘R' section in the record shop. We heard from:Ratt – Out of the CellarRory Gallagher – TattooRed Hot Chili Peppers – CalifornicationRainbow – RisingThe show ended with a flurry of awesome SA music and a bit of metal. If you are new to TSORR you can find us on Facebook, X or Instagram. Please feel free to check out the website on www.thestoryofrockandroll.com there is a huge amount of amazing content on the site with plenty of articles, interviews, video clips, and more. You will find the monthly newsletter there and you can subscribe if you want to receive it as it comes out. You can email us at thestoryofrockandroll1@gmail.com, it's always great to hear from people around the world who support the show. Artists Featured: Mr Big, The Cult, Ten Years After, Q5, The Almighty, Gund N' Roses, Motörhead, Sons of Liberty, Texas Hippie Coalition, Massive Wagons, The New Roses, Iron Maiden, Saxon, Risingfall, Black Stone Cherry, Michael Schenker Group, Myles Kennedy, David Gilmour, Jackson Colt, The Police, the Stranglers, Ozzy Osbourne, ACDC, Avenged Sevenfold, Ratt, Red Hot Chili Peppers, Rainbow, Rory Gallagher, Cutting Jade, Jack Hammer, Springbok Nude Girls, The Halo Effect, Asking Alexandria, Halestorm The Story of Rock and Roll. TSORR - Your one-stop shop for Rock
La première bande-annonce du prochain documentaire sur la carrière d'Elton John a été dévoilée, ‘'Elton John : Never Too Late‘' retrace son ascension fulgurante vers la célébrité, les périodes sombres de sa vie, son combat contre la toxicomanie et le chemin qui l'a mené à la sobriété. Joe Bonamassa rendra hommage à Rory Gallagher lors de deux concerts à Cork, la ville natale de Gallagher, l'été prochain, à l'occasion du 30e anniversaire de la mort de Rory Gallagher en 1995. Joe Bonamassa rendra hommage à Rory Gallagher lors de deux concerts à Cork, la ville natale de Gallagher, l'été prochain, à l'occasion du 30e anniversaire de la mort du guitariste en 1995. Paul McCartney a joué le dernier titre des Beatles : "Now and Then" en live en Uruguay mardi soir, images sont à voir sur Classic21.be. En achetant une gare désaffectée en 2007, un couple a acquis sans le savoir un bien immobilier en lien avec Oasis. Après la résidence secondaire de Jeff Buckley et le Casbah Coffee Club où avaient souvent joué les Beatles à leurs débuts, c'est au tour d'une maison utilisée par Prince de se voir proposée à la location. Le line up actuel de Ten Years After a annoncé qu'il allait se séparer après 10 ans de vie commune, le quatuor jouera ses derniers concerts en Allemagne dans le courant de l'année. Mots-Clés : musicien, réflexion, vie, Amérique du Nord, Dodger Stadium, Los Angeles, film, streaming, monde, set, album, Irish Tour, légendaire, Ulster Hall, Belfast, époque, violence, artistes, ville, célèbre, Jim Aiken, fils, Peter Aiken, origine, fan, reprise, technologie, intelligence artificielle, Tim Collis, mari, Ryan Phelps, maison de maître, victorienne, salle d'attente, Cromford, Derbyshire, pochette, single, Some Might Say, 1995, propriétaire, pèlerinage, annonce, reformation, Vendeur, photo, Purple Rain, bande originale, célébrer, événement, disposition, Airbnb, Minneapolis, Minnesota, prix, dollars, personne, clin d'œil, numéro, à bord, claviériste, Chick Churchill, batteur, Ric Lee, membres fondateurs, guitariste, Marcus Bonfanti, bassiste, Colin Hodgkinson, Leo Lyons, leader, Joe Gooch, Alvin Lee, line up, printemps. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx
Ric Lee talks Ten Years After on this episode of The Frank Mackay Show!
Today's program features tunes from Jean Luc Ponty, Jeff Beck, The Wallflowers, Van Morrison, Eagles, Graham Parker, Counting Crows, America, Doobie Brothers, Batdorf & Rodney, Chicago Transit Authority, John McLaughlin, Bob Dylan, The Doors, Outsiders, Tommy James & The Shondells, Steppenwolf, Ten Years After, Spirit, The Troggs, Shadows Of Knight, Electric Flag and Savoy Brown.
A special episode where I showcase my favorite bands in extended sets. In this episode, hear Be-Bop Deluxe, Gamalon, Little Angels, Shadow Gallery, Ten Years After, Uriah Heep (w/Bernie Shaw). Do you enjoy Prog-Scure? If so, perhaps you might consider helping me to keep this show afloat by contributing a few dollars at https://patreon.com/zapniles. Any […]
Here is the music of Little Richard, Led Zeppelin, Howlin' Wolf, Guitar Slim and more. Also a set of music from Woodstock including Credence Clearwater Revival, Santana and Ten Years After live at Woodstock. Enjoy and send me any requests for next Thursday's Bluesland on KMRE 88.3 FM.
We lost one of the important English Blues figures this past week. This is a tribute to the late John Mayall. He was influential in bringing three prominent guitarists in the public eye. At different points on his band The Bluesbreakers, he featured Eric Clapton, Peter Green and Mick Taylor. They supported Mayall's musical vision of bringing authentic Blues to England, and in doing so, influenced other bands like The Rolling Stones, Cream, Savoy Brown and others. This is a tribute to his legacy.Alvin Lee and Ten Years After are profiled on the second half of this episode. Please have a look at these special interest sites.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at my Venmo account@jessie-DelgadoII
"You poisoned my sweet water you cut down my green treesThe food you fed my children was the cause of their diseaseMy world is slowly fallin' down and the airs not good to breatheAnd those of us who care enough we have to do somethingOh... what you gonna do about me?Oh... what you gonna do about me?"We have made progress but still lots of work to do, please join me and some talented folks on the Sunday Edition of Whole 'Nuther Thing. Appearing are Earth Opera, John Prine, Traffic, The Who, Byrds, Allman Brothers Band, Joni Mitchell, Van Morrison, Lou Donaldson, Santana, Jackson Browne, Ten Years After, Kenny Burell, Bob Dylan, The Kinks, Guess Who, Abraxas Pool, Peter Paul & Mary, Taj Mahal and Quicksilver Messenger Service.
"He bought her a diamond for her throatHe put her in a ranch house on a hillShe could see the valley barbecues From her window sillSee the blue pools in the squinting sunHear the hissing of summer lawns"Let's listen to the Hissing Of The Summer Lawns together on this first Saturday of Summer. Joining us are Haim, T. Rex, Tears For Fears, Bob Dylan, Supertramp, John Klemmer, Johnny Rivers, Dire Straits, Rupert Holmes, NRBQ, The Cars,, Hollies, Bee Gees, Ten Years After, Mr. Mister, The Smiths, Tom Petty, Rockpile, Del Shannon, Gordon Lightfoot, Sublime, Lou Reed, The B52's, Jeff Beck, Chuck Berry and Joni Mitchell...
"He bought her a diamond for her throatHe put her in a ranch house on a hillShe could see the valley barbecues From her window sillSee the blue pools in the squinting sunHear the hissing of summer lawns"Let's listen to the Hissing Of The Summer Lawns together on this first Saturday of Summer. Joining us are Haim, T. Rex, Tears For Fears, Bob Dylan, Supertramp, John Klemmer, Johnny Rivers, Dire Straits, Rupert Holmes, NRBQ, The Cars,, Hollies, Bee Gees, Ten Years After, Mr. Mister, The Smiths, Tom Petty, Rockpile, Del Shannon, Gordon Lightfoot, Sublime, Lou Reed, The B52's, Jeff Beck, Chuck Berry and Joni Mitchell...
This weeks Saturday Edition features tunes from Lonnie mack, Bruce Springsteen, Dave Gruisin, Ten Years After, Tufano & Giamerese, Jeff Beck Group, Byrds, John Mellencamp, Mott The Hoople, Jeff Buckley, Led Zeppelin, David Bowie, T. Rex, Maria Muldaur, Ian Hunter, John Mayall, Jean Luc Ponty, Lynyrd Skynyrd, Chick Corea, Seatrain and Little Feat...
Radio Cineola is a series of ‘shortwave broadcasts' from around the world. First appearing in 2010 and featuring Matt Johnson and guests, previewing upcoming THE THE releases, works in progress, freshly unearthed (and previously unheard) material from the vaults, plus chats with collaborators past, present and future. A cross between an EP and a jamboree bag. Ten Years After. A reflection on 9/11. Narrated by Arthur Dinklebottom.
Today's program features The Beach Boys, Ten Years After, Peter Frampton, The Beatles, The Rolling Stones, XTC, The Rembrandts, Tom Petty & the Heartbreakers, Romantics, Knack, Pretenders, The Moody Blues The Byrds The Who Orleans Daryl Hall & John Oates, Loggins & Messina, Little Feat Love, Richard Barone, Patti Smith Group, Ramones,, Thirteenth Floor Elevators, Paul Revere & the Raiders, Mahavishnu Orchestra &Jeff Beck.
From the creators of "Indiana Jones and the Hurricane of Katrina" and "Indiana Jones and the Crystal Flute" comes an all new cinematic event: "Predator '69." On today's episode, Sonny and Tom craft a new Predator movie from scratch. The setting? Woodstock, the legendary music festival of 1969. Can a group of hippies, all dealing with their own personal and interpersonal issues while on a quest to acquire acid, defeat a deadly alien hunter who seeks to kill them for sport? That is the question that your hosts answer. But not before exploring other potential settings for a Predator movie, such as World War I and the wild west. So if you like this one, let us know! You just might see us make more Predator movies in the future. Apologies to Ric Lee, the drummer of Ten Years After, for the role that we give him in this fictional film.There is, of course, the opening segment Arnold in a Famous Role. Today's episode sees the boys discuss how Arnold Schwarzenegger would do playing George Kennedy's Oscar-winning role as Dragline in 1967's "Cool Hand Luke." And I don't mean to spoil anything, but let's just say there's a chance we might have a new role earning the title of Arnold's Best Shot. But first you have to sit through about ten minutes of the boys analyzing George Kennedy's personal life.Hosted by Sonny de Nocker (@swankysonny) and Tom Price (@thomas_price22).Theme by Josh Britt (jbrittmusic.com)Instagram: AnOscarForArnoldTwitter: @AnOscar4ArnoldTikTok: AnOscarForArnoldContact: AnOscarForArnold@gmail.com
This week get your nerd on with us as we are raiding the Prog Rock crypt again. However, this will be a much different journey into the world of progressiveness, as we are covering Neo-Prog from the early to mid-1980s. A much different time for progressive rock, as these bands were influenced by more than just Genesis, Yes, and King Crimson. These groups were injecting heavy doses of hard rock, new wave, punk, and pop into their progressive Day-Glo soup! Keep an open mind and give it a listen…What's this InObscuria thing? We're a podcast that exhumes obscure Rock n' Punk n' Metal and puts them in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. Prog rock in the 60s and 70s initially had mostly classical music and jazz influences, but over the last 40 years it has come to include other fusions of music styles including metal, punk, funk, folk, and electronic. From Zappa and Sgt. Pepper to the 1980s music by bands like Marillion and Pendragon… This is Neo-Prog Rock! Get yer nerd on!Songs this week include:Saga – “Wind Him Up” from Worlds Apart (1981)Twelfth Night – “East Of Eden” from Smiling At Grief (1982)IQ – “The Wake” from The Wake (1985) Pendragon – “Fly High Fall Far” from The Jewel (1985)Gowan – “Keep Up The Fight” from Gowan (1982)It Bites – “All In Red” from The Big Lad In The Windmill (1986)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/
In this episode, Chrisha and Catherine look into the theme of mirrors and misdirection, which is particularly prevalent in this episode but has been a running theme throughout the series. They also examine the parallels this episode has with multiple episodes of Supernatural, which all look at the temptation of peace and happiness vs. facing the difficulty of real life and its associated difficulties and traumas! A big chunk of the episode dives into the background imagery of sideshows and includes a discussion of othering, autonomy, and what visual messaging the audience might have been given. Further time is given to discussions of spell ingredients, Macbeth, music, and thinking forward to the finale!The Winchesters audio clip credits: The CWSupenatural audio clip credits: The CWJIBCon 11 audio clip credits: Aurélie Kitty at YouTubeMusic clip credits: "I'd Love to Change the World" by Ten Years After; "The Viper" by Paul Lenart & Billy Novick; "Everybody Loves a Clown" by Gary Lewis and The Playboys; "The Tears of a Clown" by Smokey Robinson and The MiraclesFollow us on Twitter @TheFangirlBiz and on Bluesky @thefangirlbiz.bsky.socialJoin our Kofi Discord community at $1/month:https://ko-fi.com/thefangirlbiz/tiersSupport our podcast by buying our new merch: https://www.redbubble.com/people/thefangirlbiz/shopThanks for listening!
"Yesterday I was a young man searching for my wayNot knowing what I wanted living life from day to day, yeahTill she came along, there was nothing but an empty spaceNot a trace, feels like coloured rain, tastes like coloured rainBring down coloured rain. rain, oh yeah"There's no Rain in the forecast until Monday so no Umbrella's needed for the Saturday Edition of Whole 'Nuther Thing on KXFM 104.7. Joining us are Jean Luc ponty, Robin Trower, The Paul Butterfield Blues Band, Fleetwood mac, Savoy Brown, Elton John, Nirvana, Humble Pie, Jeff Beck, Pearl Jam, Ten Years After, Al Kooper w Michael Bloomfield, Free, Terry Reid and Eric Burdon & The Animals...
It's time for another mailbag episode, as Kirk takes on questions about Evanescence piano, Kelis bells, and counting in songs by Phish, Vessels, Ten Years After, and Kishi Bashi. All that, and a friendly dispute about a Taylor Swift song."Milkshake" by Neptunes/Kelis from Tasty, 2003"Going Under" by Evanescence from Fallen, 2003Joe Lovono plays the AulochromePat Metheney plays the Pikasso 42-string GuitarMatt Glassmeyer and Jano Rix demonstrate the ShuitarFuture Man plays Synth Axe Drumitar live with the Flecktones"What About Me?" by Snarky Puppy from We Like It Here, 2014"Shimmer Intend Spark Groove Defend" feat. Nels Cline from What Is To Be Done, 2019"Angst In My Pants" by Sparks from Angst in my Pants, 1982"The Sky Was Pink" by Vessels, 2012"Hahaha, Pt. 2" by Kishi Bashi from Lighght, 2014"Mound" by Phish from Rift, 1993"I'd Love to Change the World" by Ten Years After from A Space in Time, 1971"Bad Blood" (Taylor's Version) by Taylor Swift feat. Kendrick Lamar, 2015/2023Elton John plays "Goodbye Yellow Brick Road" at Dodger Stadium, 2022The NIOSH Sound Level Meter AppOUTRO SOLOIST: BJ CordThis episode's outro soloist is BJ Cord, a fantastic trumpet player based in Portland. BJ works at Monette trumpets making some of the most beautiful horns in the world, and is a regular presence on their Instagram: https://www.instagram.com/monettetrumpets----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music--------------------NOVEMBER 2023 WHOLE-NOTE PATRONSCesarCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreyNOVEMBER 2023 HALF-NOTE PATRONSEthan LaserbrianjohnpeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChristopher BrunoChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenSean MurphyJake YumatillaAlan BroughRandal VegterGo Birds!Whit SidenerRobert Granatdave malloyNick GallowayHeather Johnsonjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanDax and Dane HuddlestonMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria YuBrad Clarkmino caposselaSteve PaquinEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonDamian BradyAngela LivingstoneSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillWenGeoff GoldenRob FPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJonathan DanielsMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo
On this week's edition of All Over The Planet, Edgar and the Dude play some of their favorite bands, including the Smashing Pumpkins, Ten Years After, Ginger Root, Derick and the Dominos, and more! All Over The Planet is a music/trivia hybrid show that is recorded/airs on WRHC 106.7 and 93.5 WRHC Radio Harbor Country, who you can support at https://www.radioharborcountry.org/ . All rights reserved to the artists, All Over The Planet does not claim ownership of any of the music performed or talked about on our program, as we work with a community radio license.
Mike relentlessly farts his way through life and refuses to apologize for it any longer. Meanwhile, Tom wants to do away with the need to dispose of bodily waste. Topics include: Ten Years After; Static-X; Tom takes his nephew to his first show; going back to the gym; New Game Plus IRL; pork at work; Yuengling Lager is overrated; sports fans; A Nightmare Before Christmas; Jared Fogel; what if Chris Hansen turned out to be a predator?; Mad Magazine paperbacks; magazines #podcast #funny #comedy #comedypodcast #TenYearsAfter #StaticX #gym #NewGamePlus #YuenglingLager #sportsfans #NightmareBeforeChristmas #JaredFogel #ChrisHansen #MadMagazine #magazines Cartoon avatars of Tom & Mike created by Gary Bacon: https://twitter.com/pixelbud ***************************************************** VISIT OUR OFFICIAL SITE! https://www.tomandmike.com ***************************************************** Check out our let's play channel, Gaming with Tom & Mike: https://www.youtube.com/@gamingwithtommike
"Rows and floes of angel hair and ice cream castles in the airAnd feather canyons everywhere I've looked at clouds that wayI've looked at life from both sides now,From up and down, and still somehow, It's life's illusions I recallI really don't know life at all"Let's discover Life together through the magical illusion created by Music. Our Whole 'Nuther Thing "Red Eye" journey this week will feature answers from Earth Opera, Linda Ronstadt, Pat Metheny, Harry Chapin, Dr. John, Ten Years After, Carly Simon, Jeff Beck Group, Chris Isaak, Kris Kristofferson, Bob Welch, Fred Neil, The Left Banke, Mark-Almond Band, Neil Diamond, Traffic, The Who, Fleetwood Mac, Bob Dylan, Baker Gurvitz Army, Michael Hedges, Richie Havens, The Critters and Joni Mitchell.
Recorded live on KX FM 104.7 in Laguna Beach, California, today's Keith's Music Box features Iggy Pop, Ten Years After, 707, Judas Priest, Toto, Marvin Gaye, David Essex, Heart, Triumph, The Beatles, The Smithereens and ELP.
On this weeks episode, we dive deep into the history of British rock legends Ten Years After and discuss their iconic 1971 album "A Space In Time." Their first record for new label Columbia showcased a notable shift towards a more acoustic and melodic direction compared to their previous works. Alvin Lee, widely regarded as the Flash Gordon of guitar, delivered some of his most memorable guitar licks throughout the record. This collection also includes the instantly recognizable number, "I'd Love To Change The World."
![[KBS] 김태훈의 시대음감](https://ivyfm.s3.amazonaws.com/i320/802245.jpg)
# 핸드폰에서 자유롭기 ♪ The sound 0f silence- Simon and Garfunkel # 뉴스 Good & Bad feat. 정새배/박혜진 기자 저출산 결혼 대책으로 ‘결혼자금'엔 증여세 면제 검토 ‘필라테스' 헬스장 먹튀 사건 빈발 # 시간을 달리는 음악 (1) - 김경진 음악평론가 # 60년대 실험 음악 레이블 # * Island Records (Jimmy Cliff, Bob Marley, Desmond Dekker, Traffic, Spooky Tooth, Fairport Convention, Nick Drake, Jethro Tull, Free, Cat Stevens, King Crimson, Roxy Music) - Northern Sky (3:47) - Nick Drake (1971) * Deram Records (David Bowie, The Moody Blues, Ten Years After, Giles Giles & Fripp, Camel, Caravan, East Of Eden) - A Whiter Shade Of Pale (4:03) - Procol Harum (1967) * Vertigo Records (Colosseum, Black Sabbath, Gentle Giant, Rod Stewart, Fairfield Parlour, Gracious!, Affinity, Magna Carta, Uriah Heep, Tudor Lodge) - Alone In Georgia (4:35) - Gravy Train (1971) * Harvest Records (Pink Floyd, Kevin Ayers, Barclay James Harvest, Deep Purple) - Anthem (6:31) - Deep Purple (1969)
Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear. They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --
The Teardrop Phase Hell Razor 4:15 2023 Vincent Carr's SUMIC Forget, Forget 19:19 Jupiter Wrens – Fantasias 2023 Amon Duul II Utopia No.1 3:52 Utopia 1973 Mike Oldfield Excerpt from Platinum Part 4 – ‘North Star' 4:40 Platinum 1979 Ten Years After 50,000 Miles Beneath My Brain 6:59 Cricklewood Green 1970 Mike Westbrook Outgoing Song […]
Ten Years After "I May Be Wrong, But I Won't Be Wrong Always"The Pogues "White City"Ruth Brown "It's All In Your Mind"Eilen Jewell "Silver Wheels and Wings"Tommy Tucker "Hi-Heel Sneakers"Adam Faucett "Day Drinker"Country Jim "Sad And Lonely"Buddy Emmons "Witchcraft"Twain And The Deslondes "Run Wild"Nappy Brown "The Right Time"Loretta Lynn "The Darkest Day"Furry Lewis "Casey Jones"She & Him "I Could've Been Your Girl"Bing Crosby "Where the Blue of the Night (Meets the Gold of the Day)"Otis Redding "Try a Little Tenderness"Bob Dylan "Floater (Too Much to Ask)"Oscar 'Papa' Celestin And His New Orleans Band "Didn't He Ramble"Valerie June "Shakedown"Jimmy "Duck" Holmes "It Had to Be the Devil"The Breeders "Saints"Tom Waits "Get Behind the Mule"Ella Fitzgerald "In the Still of the Night"John Prine "Often Is a Word I Seldom Use"Annisteen Allen "Fujiyama Mama"Fastbacks "In the Summer"The Replacements "Left Of The Dial"Bob Wills & His Texas Playboys "Milk Cow Blues"Gordon Lightfoot "The Wreck of the Edmund Fitzgerald"Clifford Brown & Max Roach "I GET A KICK OUT OF YOU"Elvis Costello & The Attractions "Every Day I Write the Book"ZZ Top "Waitin' for the Bus"ZZ Top "Jesus Just Left Chicago"George Lewis "Burgundy Street Blues"Webb Pierce "Slowly"Gang of Four "Armalite Rifle"J Mascis + The Fog "Ammaring"Gillian Welch "Tennessee"Lucero "Nothing's Alright"Drag the River "Tobacco Fields"Pretenders "Mystery Achievement"John Coltrane "Ev'ry Time We Say Goodbye"
When a fire breaks out in Krystina Sutherland's apartment building, the first suspect is her ex-boyfriend and father of her children, but his iron-clad alibi led authorities to an unlikely suspect in a case that took a decade to resolve. This week's Court TV Podcast features an audio edition of our original series, Someone They Knew with Tamron Hall which examines crimes committed by those closest to the victim. This week's episode is titled “Ten Years After.” To stream more Court TV originals, click here.
# 지금부터 10년이 좋은 시간이라는 말 ♪ I'd love to change the world- Ten Years After # 시간을 달리는 음악 (2) - 김경진 음악평론가 # Motown Records (2) # M..... - Get Ready (2:48) - Rare Earth (1969) - War (3:12) - Edwin Starr (1970) - What's Going On (3:53) - Marvin Gaye (1971) - Superstition (4:26) - Stevie Wonder (1972) - Super Freak (3:24) - Rick James (1981) - Rhythm Of The Night (3:49) - DeBarge (1985)
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"
Dr. Pugh is joining Tripp for a conversation about the timely work of Dietrich Bonhoeffer. We will pull out 5 different reasons the return to Bonhoeffer is needed from his essay “Ten Years After,” in which Bonhoeffer wrote to the conspirators and resisters to Nazi rule in 1943. In this one short piece, ample grounds… Read more about Jeffrey Pugh: 5 Reasons we need Bonhoeffer now!
Lol's Spare HoF Statuette The NIN drum throne came free againBeck's groovy tune was keeping us sane! The Youngest to be in the Hall of FameSays, ‘Two or Two Hundred the Energy's the same'Bob needed convincing and nothing less Lol asked Trent and Trent said Yes!TOTP not OGWTIf we didn't do Top of The Pops someone awful would. Did Talvin see Budgie play an Electronic Marimba?Ilan is a Musician and Drums his first love The Rhythm of Music and the Energy of Life!More About Drums and Food!Guitarists and singers may minimize the drums but a good drummer is the making of most bands Rhythm and Voice are what most people get.Budgie drummed melodies and chords on the KitBut We Do Dig Guitarists Man!The Violin out-foxed Ilan – too strenuous to learn. No woodwind or Brass but now he plays the clarinet!Budgie left France for Berlin because Toby Dammit's shoes sounded good.Ten Years After, and Berlin's still, Grotty, Grimy and Grizzly Los Angeles is Super-efficient Between tours it's cool - Before tours it's cool – After tours it's cool!Lol didn't plan to live in LA - he found Love and Acceptance Los Angeles is Lol's Home Sweet HomeBudgie thought LA would be his too? SIR – Into The Valley!Indicators out of Sync? - Drummers needing Therapy?Taiko and Dancing? - Lol 3rd Act Lessons? Budgie and Leo's O'Daiko? - Let the Sticks do the Talking?Lol and Budgie want Roland Taikos to Dance with – Non-Dancing-Dancing! ____Respect: Alvin Lee (1944 – 2013) ‘Ten Years After'____CONNECT WITH US:Curious Creatures:Website: https://curiouscreaturespodcast.comFacebook: @CuriousCreaturesOfficialTwitter: @curecreaturesInstagram: @CuriousCreaturesOfficialLol Tolhurst: Website: https://loltolhurst.comFacebook: @officialloltolhurst Twitter: @LolTolhurst Instagram: @lol.tolhurst Budgie: Facebook: @budgieofficial Twitter: @TuWhit2whooInstagram: @budgie646Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.
It was a pleasure to interview the last remaining members of the band, Savoy Brown, bassist Patrick DaSalvo and drummer Garnet Grimm.Visit Savoybrown.com to order their latest album and more The History of Savoy Brown Defining the British Blues Boom music scene in London in the mid ‘60'sThe British R ‘n‘ B boom of the early 1960's led directly to the British Blues Explosion in 1968.The London R n B boom led by, for example, The Rolling Stones, The Kinks, The Yardbirds, The Pretty Things and to some extent the Beatles quickly moved into mainstream pop and left a vacuum in the London clubs.This vacuum, in London, was filled in the mid 60's by John Mayall's Bluesbreakers featuring Eric Clapton and Savoy Brown's Blues Band featuring Kim Simmonds.Both these bands became headliners at major London clubs such as The Marquee establishing a “blues night” amongst the mainstream soul and popular music in the charts at that time. As headlining pioneers of the new blues movement Savoy Brown gave a platform to emerging bands in other areas of the U.K. Ten Years After and Jethro Tull both were opening acts to Savoy Brown on blues night at the Marquee.Chicken Shack from Birmingham also came to London and along with the early Fleetwood Mac established themselves on the scene.John Mayall, Savoy Brown, Fleetwood Mac, Jethro Tull, Chicken Shack and Ten Years After became the “big six” blues bands at that time.In fact a 45 single was released by The Liverpool Scene called “I've Got These Fleetwood Mac Chicken Shack John Mayall Can't Fail Blues” and the second chorus has Savoy Brown and Jethro Tull to round off the full song story.Hits soon followed for these bands (Savoy Brown cracking the USA in 1969) and the blues movement quickly gave way to the heavy rock of Black Sabbath, themselves a blues band when they started.The British Blues Boom was a phenomena never to be repeated again and remains one of the foremost U.K. music movements of all time.. So grateful for all the listeners! Check the links below from charities, subscriptions, merch, reading list, and more. Love the show?You can now support the show with a subscription! Click here for all the details.**Want to write a review? Click here for details.** Donate Dachshund Rescue of Houston hereBlog https://tstakaishi.wixsite.com/musicInsta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire Merch https://www.bonfire.com/store/creative-peacemeal/Redbubble Merch CPPodcast.redbubble.comCreative Peacemeal READING list hereInterested in Corrie Legge's content planner? Click here to order!
On this episode Brian is joined by Pieter Hendriks, the man behind Soothsayer Orchestra.Soothsayer Orchestra releases new album "The Last Black Flower" on 4th February 2023 via Lay Bare Recordings.Pieter Hendriks is a musical solitudinarian who has enough gumption to leave the commonplace behind and only take with him what can enrich his music and performance. There is a certain weight of tragedy in his music. Pieters gravelly voice possesses an uneasy moodiness that reflects doom and despair, which immerses you in the dark side of life. Then, amidst this darkness Hendriks shifts his compositions to newfound hope, warm and flowing, creating a longing, yet bold mood.Born and raised in the early 80's in a small, isolated town in the south of The Netherlands, Pieter was introduced to music at a young by his parents. With instruments laying around their home and a large record collection which got him hooked on everything from Leonard Cohen and David Bowie to Band of Gypsy's.Musically, Hendriks grew up in the gritty hardcore-punk scene of the mid 90's playing drums in several acts such as Reaching Forward and Born From Pain, touring internationally sharing the stage with names as Type O Negative, Sepultura and Fear Factory. The new millennium brought a musical shift towards southern rock inspired blues in his role as drummer for Black Bottle Riot playing shows with acts such as ZZ Top, Pearl Jam and Ten Years After. All these influences plus his parents record collection create a solid foundation for the diversity of Soothsayer Orchestra.In 2021 Dutch label Lay Bare Recordings released his self-titled debut album, most lyrics and song ideas were written in an old caravan in the middle of the dark forest of the Eifel in Germany. Isolated from modern temptation, just loneliness and silence to focus on his songs. In his brand-new studio, fittingly named “The Dungeon”, Hendriks crawled back into writing mode for new album The Last Black Flower and explored new territory, always looking for new influences. Elements of electronic industrial music and psychedelic vintage rock blend with the dark bluesy foundation on which Soothsayer Orchestra is firmly built. Lyrically and conceptually this album can be seen as a documentation of self-reflection that Hendriks went through during the often hopeless and haunting years of the pandemic. What came out of this is a beautiful and very honest album that lays bare one's soul and takes the listener on a musically dynamic journey through Hendriks his mind. Tune in to hear about:The Last Black Flower.Pieters early influencesConcert experiencesFuture plansMuch much more!!Find Soothsayer Orchestra here:https://www.instagram.com/soothsayer_orchestra/Find CTMU here:https://linktr.ee/ConcertsthatmadeusNewsletter: https://concertsthatmadeus.aweb.page/p/f065707b-2e34-4268-8e73-94f12bd2e938If you would like to support the show you can do so by rating/reviewing us on Itunes and Spotify or by signing up at https://www.patreon.com/ConcertsthatmadeusSave 10% on Band Builder Academy membership by following this link https://bandbuilderacademy.com/Brian_Concerts/join and using promo code "concerts" at signup. Become a member at https://plus.acast.com/s/concerts-that-made-us. Hosted on Acast. See acast.com/privacy for more information.
The Strange Brew - artist stories behind the greatest music ever recorded
Leo Lyons, legendary bassist and founder member of Ten Years After talks about his life in music. Leo The post Leo Lyons – Ten Years After and Hundred Seventy Split appeared first on The Strange Brew .
Captain Speedfingers, the fastest guitarist in the west - nicknames given to legendary guitarist Alvin Lee! Alvin was born on this day in 1944 and on today's episode we hear a funny story told by his Ten Years After bandmate Ric Lee!
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