Podcasts about think twice it

Here is the playlist for the 04/06 episode of Crosswinds. enjoy!Stan Kenton Orchestra- Intermission RiffDon Ellis Orchestra- A New Kind of CountryCory Weeds Little Big Band- Ready & AbleLyle Lovett Large Band- I Know You KnowColin James Little Big Band- The Boogie TwistBob Wills and His Texas Playboys- Bob Wills' BoogieBob Wills and His Texas Playboys- Fat Boy RagBob Wills and His Texas Playboys- New San Antonio RoseWDR Big Band- Slip and SlideWDR Big Band- Emy in the WoodsWDR Big Band (w/Dave Stryker and Bob Mintzer)- Wichita LinemanMaynard Ferguson- Country RoadDixie Dregs- Country House ShuffleJerry Goodman and Jan Hammer- Country and Eastern MusicJean-Luc Ponty- New CountryMahavishnu Orchestra- Open County JoyBruce Hornsby- Country DoctorCannonball Adderly- Country PreacherGary Burton, Chick Corea, Roy Haynes, Dave Holland and Pat Metheny- Country RoadsJohn Scofield- Wayfaring StrangerDoc Watson- Country BluesKeith Jarrett, Gary Peacock and Paul Motian- Golden EarringsJerry Douglas and Alison Krauss- Back in Love AgainNorah Jones- My Dear CountryChris Thile and Brad Mehldau- Don't Think Twice (It's Alright)Charlie Haden and Hank Jones- Wade in the WaterCharlie Haden- Fields of AthenryRobert Glasper Trio- Yes, I'm Country (and That's OK)Bela Fleck- Up and RunningBela Fleck and the Flecktones- New CountryStrength in Numbers- SlopesAllman Brothers Band- Jessica

P.P. Arnold - The First Cut is the Deepest Equipe 84 - Sei Gia' Di Un The Clefs of Lavender Hill – Play With Fire Julie London – Quinn the Eskimo The Youngbloods – Reason To Believe L'Infonie - She's Leaving Home Brook Benton- Don't Think Twice It's Alright Maxine Brown – We Can Work It Out P.P. Arnold – Brand New Day

Marjorie Hache nous invite dans une émission riche en découvertes et en incontournables dans Pop-Rock Station sur RTL2. Edwyn Collins ouvre le bal avec "Knowledge", extrait de son premier album en cinq ans, attendu le 14 mars. Les nouveautés continuent avec Warmduscher et leur post-punk londonien ou encore Sharon Van Etten & The Attachment Theory avec "Trouble", prélude à leur album éponyme prévu pour le 7 février. L'album de la semaine met à l'honneur Mogwai avec "The Bad Fire", un onzième disque influencé par Neu! et Kraftwerk, illustré par "Hammer Room". La reprise de la soirée revient à Cachemire, revisitant "La nuit je mens" d'Alain Bashung, tandis que le live est assuré par Indochine avec "L'Aventurier" enregistré en 2021. Enfin, un détour par les classiques nous offre Fleetwood Mac et leur intemporel "Rumours", ainsi que Queens of the Stone Age avec "Better Living Through Chemistry". La playlist de l'émission : Edwyn Collins - Knowledge The Beach Boys - Surfin' U.S.A. Fleetwood Mac - You Make Loving Fun Pearl Jam - Alive Warmduscher - Top Shelf Aerosmith & Run DMC - Walk This Way Cypress Hill - Superstar Mogwai - Hammer Room Jefferson Airplane - Somebody To Love Public Service Broadcasting - Arabian Flight Blood - Sweat & Tears Sharon Van Etten & The Attachment Theory - Trouble Cachemire - La Nuit Je Mens The Prodigy - Breathe Lambrini Girls - Cuntology 101 ZZ Top - Rough Boy Tahiti 80 - Heartbeat Indochine - L'aventurier (Concert Très Très Privé RTL2) Alt+J - Left Hand Free Bob Dylan- Don't Think Twice It's Alright Luther Russell- Happiness For Beginners Beth Ditto - Fire Queens Of The Stone Age - Better Living Through Chemistry Florence + The Machine - Dog Days Are Over Sebastien Tellier - La Ritournelle

Winter is arriving across the land as we move toward the new year. We note the change of season with music from Peter Mayer, Ramblin' Jack Elliot, Fred Gosbee. The Sweetback Sisters, Peter Ostroushko and many more. Short days and long nights … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysPhil Passen / “On a Cold Winter's Day-Cold Froty Morning” / Cold Frosty Morning / PhilbarEli Lev & Megan Leigh / “The Longest Night of the Year” / The Longest Night of the Year Vol. 2 / Hudson HardingPeter Mayer / “The Longest Night” / Midwinter / Blue BoatJay Ungar & Molly Mason / “A Rovin' On A Winter's Night” / The Pleasures of Winter / Fiddle & DanceKenny Jackson / “The Shortest Day-Set the Log Alight” / The Shortest Day / Crow HillRamblin' Jack Elliot / “Introduction to Don't Think Twice It's Alright” / Tales from the Tavern Volume One / Tales from the TavernRamblin' Jack Elliot / “Don't Think Twice It's Alright” / Tales from the Tavern Volume One / Tales from the TavernMae Robertson / “Every December Sky” / December Sky / LyricPartnersSheila Kay Adams & Jim Taylor / “Frosty Morn” / Christmas on the Mountain / PearlMae and Granny Dell RecordsFred Gosbee / “The Night the Whiskey Froze” / The Night the Whiskey Froze / CastlebayThe Sweetback Sisters / “Walking in a Winter Wonderland” / Country Christmas Singalong Spectacular Signature SoundsTony Trischka / “Sleigh Ride” / Glory Shone Around / RounderPeter Ostroushko / “Horizontal Hold” / Blue Mesa / Red HouseAnne & Pete Sibley / “Winter on the Great Divide” / Winter on the Great Divide / Self-producedTony Elman / “Winter Creek” / Winter Creek / AcornPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Our 528th episode, which aired on October 20, 2024, and featured our latest installment of Celtic covers of pop and rock hits. Tim Edey – Isn't She Lovely, I Got Rhythm The Freels – Cecilia, The Freels Tempest – Masters of War, 15th Anniversary Collection Clumsy Lovers – Don't Think Twice It's All Right, Barnburner J.P. Cormier – We Can Work It Out, Take Five: A Banjo Collection Tempest – Norwegian Wood, Thirty Little Turns Doolin' – Man Smart (Woman Smarter), Circus Boy Deluce's Patent – Keep Me In Your Heart, Deluce's Patent Seven Nations – Message In A Bottle, Another Ten Years: A Compilation of Songs 1998-2008 The Duhks – Love Is The Seventh Wave, The Duhks The House Band – Pharoah, The World Is A Wonderful Place: The Songs of Richard & Linda Thompson Kieran's Irish Pub – 52 Vincent, As They Pass Through Great Big Sea – Gallows Pole, XX Fairport Convention – The Ballad of Easy Rider, Unhalfbricking

Jude – Morning Morgantown Finger 5 - I Want You Back Dion – Purple Haze Mike Melvoin - Lay Lady Lay Eric Mercury - Hurdy Gurdy Man Skeeter Davis & NRBQ – Things To You John Martyn - Don't Think Twice It's Alright Judy Dyble – Both Sides Now The Undisputed Truth – Like A Rolling Stone

Gerry and The Pacemakers Don't Let the Sun Catch You Crying Jethro Tull - AqualungBob Dylan - Don't Think Twice It's All RightThe Beatles - TaxmanElectric Light Orchestra - Rock 'N' Roll Is KingEydie Gormé - Blame It on the Bossa Nova George Benson - Give Me the NightSheena Easton - Strut Bill Medley & Jennifer Warnes - I've Had The Time of My Life Chris Isaak - Wicked Game George Michael - Faith Neil Diamond - Solitary Man Hosted on Acast. See acast.com/privacy for more information.

Winter arrived last week in eastern Pennsylvania with higher than usual temperatures and only some conversational snowflakes. This week on the program we note the change of season with music from Peter Mayer, Ramblin' Jack Elliot, Fred Gosbee, The Sweetback Sisters, Peter Ostroushko and many more. Winter's coming in … this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysPhil Passen / “On a Cold Winter's Day-Cold Froty Morning” / Cold Frosty Morning / PhilbarEli Lev & Megan Leigh / “The Longest Night of the Year” / The Longest Night of the Year Vol. 2 / Hudson HardingPeter Mayer / “The Longest Night” / Midwinter / Blue BoatJay Ungar & Molly Mason / “A Rovin' On A Winter's Night” / The Pleasures of Winter / Fiddle & DanceKenny Jackson / “The Shortest Day-Set the Log Alight” / The Shortest Day / Crow HillRamblin' Jack Elliot / “Introduction to Don't Think Twice It's Alright” / Tales from the Tavern Volume One / Tales from the TavernRamblin Jack Elliot / “Don't Think Twice It's Alright” / Tales from the Tavern Volume One / Tales from the TavernMae Robertson / “Every December Sky” / December Sky / LyricPartnersSheila Kay Adams & Jim Taylor / “Frosty Morn” / Christmas on the Mountain / PearlMae and Granny Dell RecordsFred Gosbee / “The Night the Whiskey Froze” / The Night the Whiskey Froze / CastlebayThe Sweetback Sisters / “Walking in a Winter Wonderland” / Country Christmas Singalong Spectacular Signature SoundsTony Trischka / “Sleigh Ride” / Glory Shone Around / RounderPeter Ostroushko / “Horizontal Hold” / Blue Mesa / Red HouseAnne & Pete Sibley / “Winter on the Great Divide” / Winter on the Great Divide / Self-producedTony Elman / “Winter Creek” / Winter Creek / AcornPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Avec Bob Dylan, The Rolling Stones, Boston et Bon Jovi. En 1963, Bob Dylan sort l'un des plus grands classiques de sa carrière "Don't Think Twice It's Allright", repris par tant d'autre, par la suite, s'échapper d'une relation amoureuse. Suze Rotolo, sur la pochette de "The Freewheelin Bob Dylan" doit quitter les Etats-Unis pour l'Italie et étudier à l'Université de Perugia. "Flight 505" des Rolling Stones en 1966, Mick Jagger chante cette envie de prendre un avion pour n'importe quelle destination. Acheter un ticket pour le vol 505, référence à l'avion qui a coûté la vie à Buddy Holly, Ritchie Valens et Big Bopper en 1959 ? Les Stones prendront bien un vol 505 de British Airways lors de leur première tournée US en 1964, et ça, c'est Bill Wyman, le bassiste et archiviste du groupe qui s'en souvient. S'échapper en auto-stop, c'est le thème de "Hitch A Ride" du groupe Boston. Partir loin, s'échapper avec "Runaway" de Bon Jovi en 1984, l'histoire d'une jeune fugueuse qui tente de se dérober de l'emprise de ses parents. VENDREDI 22/12/23 Avec The Doors, Journey, Jackson Browne, The Killers et Tom Petty. 1967, les Doors sortent leur premier album sur lequel on retrouve "Break On Through (To The Other Side)". Ce titre nous invite à fuir de l'autre côté, une échappatoire spirituelle. En 1981, le groupe américain Journey sort son 7e album baptisé "Escape". La plage titulaire nous invite à fuir nos obligations pour poursuivre nos rêves et changer notre façon de penser. Dans "Running On Empty" en 1978, le singer/songwriter américain Jackson Browne, nous propose de prendre la route, à la recherche du sens de la vie. En 2017, les Killers nous proposent de nous mettre à couvert dans " Run For Cover ". Tom Petty en 1989 travaille en étroite collaboration avec Jeff Lynne de l'Electric Light Orchestra qu'il a côtoyé au sein du supergroupe Traveling Wilburys, qui regroupait aussi George Harrison, Bob Dylan et Roy Orbison. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les 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.

This week's guest, writer/DJ/Tech dude Corey duBrowa, brings some deep personal insight to this episode focusing on Elliott Smith and his amazing 1997 record: 'Either/Or'. Corey was living in Portland, OR and running in the same circles as Smith during his rise as a member of the Portland rock band Heatmiser to Oscar-nominated indie solo artist. Although he was tragically taken way too soon from this earth, his wonderfully written, captivatingly delivered songs live on. Songs discussed in this episode: Say Yes - Brown Derbies/Lucy Lowis/Ben Folds/Elliott Smith; Blackout - Heatmiser; No Confidence Man (Live at Umbra Penumbra, Portland, OR - September 17, 1994) - Elliott Smith; Plainclothes Man - Heatmiser; Miss Misery (Live at The Oscars, 1998), Speed Trials - Elliott Smith; My Valuable Hunting Knife - Guided By Voices; Alameda - Elliott Smith; The Ballad Of El Goodo - Big Star; Ballad Of Big Nothing, Don't Think Twice It's Alright (Live, Bob Dylan Cover) - Elliott Smith; Ballad Of A Thin Man - Bob Dylan; This Will Be Our Year - The Zombies; Between The Bars, Pictures Of Me, No Name No. 5, Rose Parade - Elliott Smith; I Figured You Out - Mary Lou Lord; Punch and Judy, Angeles, Cupid's Trick, 2.45 AM, Say Yes - Elliott Smith; Warsaw - Joy Division; I Figured You Out - Elliott Smith

Take This Pod and Shove It is listener supported. Visit our Patreon to support the show!Bob Dylan has always been a fan of country music, and even though he only intentionally wrote and recorded country music a few times in his career, his impact on the genre is massive and goes back to his earliest days as a young folk prodigy. This week Danny and Tyler take a look at one particular Dylan song that has been covered by country artists so many times it is basically a country standard: "Don't Think Twice It's All Right."Listen to hear us rank our favorite covers of the classic tune; and to hear the controversial backstory behind the song's writing credits.Check out our Patreon!Check out our new merch store!Instagram: @TakeThisPodandShoveItFor everything else click HERE!Want to create your own great podcast? Why not start today! We use BuzzSprout for hosting and have loved it. So we suggest you give them a try as well! Buzzsprout gets your show listed in every major podcast platform, and makes understanding your podcast data a breeze. Follow this link to let Buzzsprout know we sent you—you'll get a $20 credit if you sign up for a paid plan, and it helps support our show.

01-Lefty Frizzell -I'm Not That Good At Goodbye 02-Saginaw, Michigan - Johnny Cash 03-Cry Softly - Jessi Colter 04-Are You Sure Hank Done It This Way - Waylon Jennings 05-Your Cheatin' Heart - Hank Williams 06-Emmylou Harris - Casey's Last Ride. 07-Tompall & The Glaser Brothers - Lovin' Her Was Easier (Than Anything I'll Ever Do Again) 08-Jim Glaser - In Another Minute 09-My Favorite Memory - Merle Haggard 10-Randy Travis-Fool's Love Affair 11-Solid Gone - Doc & Merle Watson 12-Doc Watson - Don't Think Twice It's Alrigh 13-Cajun Moon - Ricky Skaggs 14-Charly McClain & Wayne Massey - With Just One Look In Your Eyes 15-Saddle the Wind - Janie Fricke 16-All That Heaven Will Allow - The Mavericks

Bob Dylan's second album, The Freewheeling Bob Dylan is where Dylan's songwriting started to flourish. At just the age of twenty one, he was writing songs that were thought-provoking, unusual, and humourous. With songs like Blowin' In The Wind, Girl From The North Country, and Don't Think Twice It's All Right coming right out of the gate, it's not wonder this album is considered a classic among classics.Listen to the album: https://open.spotify.com/album/0o1uFxZ1VTviqvNaYkTJekWebsite: ⁠https://www.polyphonicpress.com⁠Contact: ⁠polyphonicpressmusic@gmail.com⁠Support: ⁠https://www.buymeacoffee.com/polyphonicpressSupport this podcast at — https://redcircle.com/polyphonic-press1229/donations

Addictions and Other VicesWednesdays *3pmRepeats Saturday 2 pm EST bombshellradio.comThanks to all the artists, labels and PR companies that submitted tracks.Fix Mix 907Photography: GoinykThe Clockworks - Blood on the Mind / The ClockworksRestore Us / PermafrostYoung Blood / Flash ForwardTangier / Selina MartinLate To The Party / JULIANA EYEMisfits / Aldo RoxDon't Think Twice (It's Not Alright) / ValaPremonitions / The KavesCollege Song / Another DayMezcal Moth / Ward WhiteMust Be Love / The RalliesBargain With The Future / Caroline ParkeFalling Down / Open ArmsHolding On / Glass SkiesThis Show Is Closed / PopuluxeAddictions and Other Vices Hosted on Acast. See acast.com/privacy for more information.

Tonight's show features some of the best songs ever written performed by other musicians, some you might know and also love but others you may never have heard of, but all doing incredible justice to the original! Curated by @pauldufrene Dion & The Belmonts –Baby You've Been On My Mind John E. Sharpe & The Squires – I Am A Rock Gabor Szabo & The California Dreamers – Lucy in the Sky with Diamonds Geoff & Maria MuldaBur - Trials, Troubles, Tribulations Francoise Hardy – Suzanne The Gentlemen – Ruby Tuesday Sandy Denny – A Little Bit of Rain Dengue Fever - Both Sides Now Bridget St. John – Fly James Carr – Ring of Fire Bold - All I Really Want To Do Ferrante & Teicher
- Midnight Cowboy Terry Melchor - These Days Lee Hazlewood – Fire & Rain Neil Young – Home, Home On The Range Kris Kristofferson – San Francisco Mable Joy Esther Phillips – Tonight I'll Be Staying Here With You Minnie Riperton – Les Fleur Tom Scott With The California Dreamers - She's Leaving Home Eddie Giles – That's How Strong My Love Is Shang Shang Typhoon - Let It Be Ian Matthews – Do I Still Figure in Your Life? The Bunch featuring Sandy Denny – When Will I Be Loved? Ginny Reilly – Landslide P.P. Arnold - The First Cut is the Deepest Equipe 84 - Sei Gia' Di Un The Clefs of Lavender Hill – Play With Fire Julie London – Quinn the Eskimo The Youngbloods – Reason To Believe L'Infonie - She's Leaving Home Brook Benton- Don't Think Twice It's Alright Maxine Brown – We Can Work It Out P.P. Arnold – Brand New Day

Ty Segall -  Hello, Hi -  Distraction Dolly Parton -  Gettin' Happy The Raconteurs -  Live In Tulsa - Sunday Driver Z Z Top -  Tres Hombres -  Precious And Grace Dave Edmunds -  Repeat When Necessary -  Creature From The Black Lagoon Ron Gallo - Entitled Man Fleetwood Mac  -Tusk - Tusk Neil Young - Hawks And Doves - Coming Apart At Every Nail *****Break***** 07:32 PM |    |    Larkin Poe - Georgia Off My Mind Paul Mc Cartney And Wings -  Band On The Run -  Let Me Roll It Built To Spill - Comes A Day Bob Dylan -  Don't Think Twice It's Alright Tom Petty -   Hard Promises -  Nightwatchman

Claudine Longet – Jealous Guy The Mops - San Franciscan Nights Dara Puspita – To Love Somebody Honeybus – Maxine's Parlour Naomi and the Boys – As Tears Go By Nirvana Sitar and String Band – Never My Love Kate Taylor – Do I Still Figure In Your Life? Cougars – I Wish It Would Rain The Persuasions – Sugaree Charlie Haden – Steal Away Nina Simone - I Think It's Gonna Rain Jude – Morning Morgantown Finger 5 - I Want You Back Dion – Purple Haze Mike Melvoin - Lay Lady Lay Eric Mercury - Hurdy Gurdy Man Skeeter Davis & NRBQ – Things To You John Martyn - Don't Think Twice It's Alright Judy Dyble – Both Sides Now The Undisputed Truth – Like A Rolling Stone Lee Moses - California Dreaming Ramon Casajoana i Joan Boix - Escolta-ho en el Vent Nirvana String – Catch the Wind Mustangs - Whatcha Gonna Do About It? Nancy Holloway - Le Lion Est Mort Ce Soir Hugo Montenegro - Peace Train Os Mutantes - Baby Isley Brothers - Fire and Rain

Live from Old Works Golf CourseToday's Playlist: The Black Keys - 'Strange Times' Tracy Lawrence - 'Better Man, Better Off' Sublime - 'Doin Time' Waylon Jennings - 'Don't Think Twice It's Alright' 

Live from Old Works Golf CourseToday's Playlist: The Black Keys - 'Strange Times' Tracy Lawrence - 'Better Man, Better Off' Sublime - 'Doin Time' Waylon Jennings - 'Don't Think Twice It's Alright'

Seen by all...   Anne Love, I'm Done with You by Ross Gay- poem Luster by Raven Leilani- book Circe by Madaline Miller- book Caro Don't Think Twice It's All Right by Bob Dylan- song Bunny by Mona Awad- novel Space Junk by Lisa Olstein -poem Gale Dancing on my own by Robyn -song Valentine by Fiona Apple- song I'm Still Standing by Elton John- song I've Been Waiting On You by - song Are You Alright by Lucinda Williams- song Simply The Best by Schitts Creek -song/video/scene/cultural moment Certainty by Big Thief - song  Gale's Spotify Playlist  Cosmos by Carl Sagon - book Murmurs of Earth: The Voyager Interstellar Record by Carl Sagan- book  

Claudine Longet – Jealous Guy The Mops - San Franciscan Nights Dara Puspita – To Love Somebody Honeybus – Maxine's Parlour Naomi and the Boys – As Tears Go By Nirvana Sitar and String Band – Never My Love Kate Taylor – Do I Still Figure In Your Life? Cougars – I Wish It Would Rain The Persuasions – Sugaree Charlie Haden – Steal Away Nina Simone - I Think It's Gonna Rain Jude – Morning Morgantown Finger 5 - I Want You Back Dion – Purple Haze Mike Melvoin - Lay Lady Lay Eric Mercury - Hurdy Gurdy Man Skeeter Davis & NRBQ – Things To You John Martyn - Don't Think Twice It's Alright Judy Dyble – Both Sides Now The Undisputed Truth – Like A Rolling Stone Lee Moses - California Dreaming Ramon Casajoana i Joan Boix - Escolta-ho en el Vent Nirvana String – Catch the Wind Mustangs - Whatcha Gonna Do About It? Nancy Holloway - Le Lion Est Mort Ce Soir Hugo Montenegro - Peace Train Os Mutantes - Baby Isley Brothers - Fire and Rain

Everest Rising/These Rooms/Chasing GhostsEverest Rising/Long Long Road/LiveEverest Rising/In the Crowd/Live  Everest Rising/Smallest Things/liveEverest Rising /Don't Think Twice It's All Right/liveEverest Rising/Drowning in the Silence/LiveEverest Rising /Echoes From Time/LiveEverest Rising/Warm Forgiving Life/LiveEverest Rising/In a Minute/Chasing GhostsSupport the show (https://www.patreon.com/artiemartello?fan_landing=true)

Périodiquement, on se refait une petite émission sur Bob Dylan, parce que c'est décidément un phénomène unique. Par sa longévité, sa production, son influence et sa capacité de passeur entre une musique folk presque désuète et une poésie porteuse de messages et bien sûr de rêves pour plusieurs générations. 80 ans aux fraises et pas le temps d'aller chercher un prix Nobel. « Les temps changent mais pas si vite qu'on pense» cette semaine dans Bon Temps Rouler…    Playlist :   Blowin' In The Wind - Stevie Wonder - At The Close Of A Century Don't Think Twice, It's All Right - Elvis Presley - Elvis (Fool) Leopard-Skin Pill-Box Hat - Raphael Saadiq - Chimes Of Freedom: The Songs Of Bob Dylan Honoring 50 Years Of Amnesty International Gotta Serve Somebody - Eric Burdon - Chimes Of Freedom: The Songs Of Bob Dylan Honoring 50 Years Of Amnesty International It Takes a Lot to Laugh, It Takes a Train to Cry - Wynton Marsalis Septet, Bob Dylan & Wynton Marsalis - United We Swing: Best of the Jazz at Lincoln Center  Things Have Changed - Bettye LaVette - Things Have Changed Subterranean Homesick Blues - Michael Franti - Chimes Of Freedom: The Songs Of Bob Dylan Honoring 50 Years Of Amnesty International Lay Lady Lay - Isaac Hayes - All Blues'd Up: Songs of Bob Dylan The Times They Are a-Changin' - Tracy Chapman (Live at Madison Square Garden October 1992) All Along the Watchtower - Jimi Hendrix - Electric Ladyland See That My Grave Is Kept Clean - Bob Dylan - Bob Dylan Don't Think Twice It's Alright - Chris Thile & Brad Mehldau - Chris Thile & Brad Mehldau Million Miles - Alvin Youngblood Hart - All Blues'd Up: Songs of Bob Dylan   Titres pour les abonnés Premium : All Along The Watchtower - Larry McCray It Takes A Lot to Laugh. It Takes A Train To Cry - Leon Russel Knockin' On Heaven's Door - Bryan ferryHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

How do you differentiate between soul and R&B? Who was the High Priestess of Soul? Which song became the first posthumous single to top the US charts? Join Stevie Nix as he answers all of these questions and more on this episode that looks for covers with soul. WARNING: This episode contains traces of Kanye West talking about parenthood.Featured songs [in chronological order]:Soul Man [Live N Effect Posse]I'd Rather Go Blind [Christine Perfect]You Are My Sunshine [Ray Charles, Etta James]Lean On Me [Clara Ward](You Make Me Feel Like) A Natural Woman [The Brockingtons, Aretha Franklin - Kennedy Center Honors, Isaac Hayes]A Man's Got Soul [Caecilie Norby]Move On Up [The Style Council]I Heard It Through The Grapevine [Gladys Knight & The Pips, Dre Dog]Sexual Healing [Neil Finn, De La Soul]Mustang Sally [Brown Town]My Girl [Jesus & Mary Chain]Don't Think Twice It's Alright [Billy Paul](Sittin' On) The Dock Of The Bay [Sara Bareilles]Feelin' Good [Muse, Kanye West & Jay Z]Hidden track: Keep On Keeping On [Curtis Mayfield]20 Covers With Soul Because It's Time To Gititon! #120 Covers With Soul Because It's Time To Gititon! #220 Covers With Soul Because It's Time To Gititon! #3Join Stevie on Spotifywww.songsungnew.com

The TV show's title and setting refers to My Khe beach in the city of Đà Nẵng, Vietnam. The actual beach was nicknamed "China Beach" in English by American and Australian soldiers during the Vietnam War. The series looks at the Vietnam War from unique perspectives: those of the women, both military personnel and civilians, who were present during the conflict. The series' cast portrayed US Army doctors and nurses, officers, soldiers, Red Cross volunteers, and civilian personnel (American, French, and Vietnamese). In reality, some 10,000 women served in country. Three Red Cross women, eight Military women and an unknown number of American civilian women died in Vietnam. Many more were wounded. Also, during the Vietnam War, 402 American medics were killed in the service of their country. **** The show was partly inspired by the book, “Home Before Morning” (The Story of an Army Nurse in Vietnam) [1983] by Lynda Van Devanter (1947-2002). The TV show consisted of a 2-hour Pilot show followed by 61 episodes over four seasons (1988-1991). The focal point was the 510th Evacuation Hospital, referred to as “The Five and Dime” E.V.A.C. hospital. The club at the Five and Dime was called The Jet Set. Diane Keaton and Gary Sinese, each directed episodes. **** The show's main theme song was "Reflections" by Diana Ross & the Supremes. Two episodes [Season 3, Episode 19 and Season 3 Episode 22] used "We Gotta Get out of This Place" by Katrina & The Waves with Eric Burdon either as the theme or within the plot. **** The show's dedication reads:“To the Vietnam Veterans, especially the women who served, with thanks and respect. China Beach, the TV series, portrayed the cost of the Vietnam War. It helped us heal while remembering the sacrifices of the young women and men who fought there. You will never be forgotten.” **** Dana Delany (McMurphy) was involved with the Vietnam Woman's Memorial Project, which built the monument in Washington D.C. next to the Vietnam Veterans Memorial. It was dedicated in 1993. Delany has become something of a heroine to the nurses who served in Vietnam. **** These are the songs we heard during Season 1.You'll hear:1) Reflections (China Beach version) – The Supremes2) (Love Is Like A) Heatwave – Martha & The Vandellas3) How Sweet It Is – Marvin Gaye4) Cloud Nine – The Temptations5) Dedicated To The One I Love – The Mamas & The Papas6) Standing In the Shadows of Love – The Four Tops7) Soldier Boy – The Shirelles (In the episode it was actually sung by Laurette for the 1940s Night)8) Going to A Go-Go – The Miracles9) (You Make Me Feel Like a) Natural Woman – Aretha Franklin10) Big Girls Don't Cry – The Four Seasons11) Cool Jerk – The Capitals12) Don't Think Twice It's Alright – Joan Baez13) Yes, I'm Ready – Barbara Mason14) Stay – Maurice Williams & The Zodiacs15) Back in My Arms Again – The Supremes16) Reach Out I'll Be There – The Four Tops17) Sugar Town – Nancy Sinatra18) I Heard It Through the Grapevine – Gladys Night & The Pips19) It Takes Two - Marvin Gaye & Kim Weston20) I Was Made To Love Her – Stevie Wonder21) I'm Sorry – Brenda Lee22) The Tracks of My Tears – Smokey Robinson & The Miracles23) Boom Boom – The Animals24) Mama Said – The Shirelles (the girls in the bunker)25) Pipeline – The Chantays26) I Can't Help Myself – The Four Tops27) Windy – The Association28) Sympathy For The Devil – The Rolling Stones29) You Can't Hurry Love – The Supremes30) The Letter – The Boxtops31) These Boots Are Made For Walkin' – Nancy Sinatra32) I Second That Emotion – Smokey Robinson & The Miracles33) Monday, Monday – The Mamas & The Papas34) Nowhere To Run – Martha & The Vandellas35) Stand By Me – Ben E. King36) Ain't Nothing Like the Real Thing – Marvin Gaye & Tammy Terrell37) Surfer Joe – The Surfaris38) Bernadette – The Four Tops39) The Girl From North Country – Rosanne Cash40) What the World Needs Now is Love – Dionne Warwick41) With A Little Help From My Friends – The Beatles (Harmonica version and others) 42) I'll Be Seeing You – Jo Stafford (In Episode 2, this was Maj. Lila Garreau's nostalgia song for “Don” (the Spitfire pilot from the RAF)43) China Beach Theme (Guitar & Harmonica)******Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ******or by email at dannymemorylane@gmail.com

The Blues Cruise is a voyage through a wealth of established and lesser-known blues artists. Whether you like old school like Delta and Chicago Blues, more recent rhythm and blues, or some unadulterated blues-rock, you will not be disappointed. Mr. B gets out and about to discover what's new and what's hot on the blues scene at local venues, bringing you the latest about bands to follow. The blues is alive and well on MMH – The Home of Rock Radio, so join Mr. B and explore the best the genre has to offer. PLAYLIST Rainbreakers - Light Me Up The Bad Day Blues Band - Table by the Wall Ivy Gold - This is my time Jamie Thyer - Mr Make Believe Jo Harman And Company - Through The Night Richard Townend - The Blues Ronan Gallagher - Liberty Troy Redfern - Scorpio The BluesBones - A better life Roxy Perry - Blues Comes to Call Lisa Mills - Shake It Emma Wilson - I needed somebody Grainne Duffy - Don't You Cry For Me Danielle Nicole - Don't Think Twice It's Alright Delta Fuse - Teardrops in Spain The Blue Poets - All It Takes Chris O'Leary - Can't Help Yourself Consummate Rogues - Across the Year Campbell & Johnstone's Black Market Band - 04. Bittersweet (M1) Emily Wolfe - No Man (radio version) Arielle - Peace Of Mind Ally Venable - Played the game

Playlist for The Everything Show 5/22/2021 Bob Dylan / Don't Think Twice It's Alright Lord Huron / Long Lost EOB / Shangri-La Molly Tuttle / She's A Rainbow Led Zeppelin / Ramble On Low Hum / Strange Love Dave Brubeck / Koto Song The Fixx / Stand or Fall KALEO / Hey Gringo Lloyd Price / Just Because Marshall Crenshaw / Theme from Flaregun Jesus And Mary Chain / Sidewalking Silver Apples / Oscillations The Marías / Hush Soundgarden / Fell On Black Days Los Retros / Someone To Spend Time With Classics IV / Spooky Still Corners / A Kiss Before Dying Cream / Strange Brew Massive Attack / Black Milk Iron Butterfly / Iron Butterfly Theme Alan Jackson / Where Have You Gone Rose City Band / Ramblin' With The Day The Rolling Stones / It's All Over Now The Coral / Vacancy Jesse Cook featuring Fethi Nadjem / HEY! Duke Ellington / Sepia Panorama Joni Mitchell / Goodbye Pork Pie Hat The Black Keys / Sad Days, Lonely Nights Dry Cleaning / Scratchcard Lanyard Suicide / Ghost Rider Ray Charles / What Kind Of Man Are You HEALTH & Nine Inch Nails / Isn't Everyone Transistor / Waiting to Be Free The Smashing Pumpkins / Telegenix Donovan / There is a Mountain Luna / Chinatown Tears For Fears / Everybody Wants To Rule The World Sleaford Mods feat. Amy Taylor / Nudge It Fontaines D.C. / I Don't Belong email: theeverythingshow@aol.com

El próximo lunes 24 de mayo Bob Dylan cumplirá 80 años. El Círculo de Bellas Artes lo celebrará con varias actividades, proyección de "El último Vals", conferencia y conciertos incluidos a cargo de cuatro grandes mujeres: Susan Santos, Anni B. Sweet y Christina Rosenvinge junto a Núria Graham. Tenemos en el estudio a Gonzalo García y a Susan Santos para hablarnos del evento. Y hoy nos visita también Eva Ryjlen para presentarnos su nuevo disco "Onírica" que significa un paso importante en su carrera en solitario tras su álbum primero "Violencia posmoderna". DISCO 1 CAT POWER Song For Bobby (9) DISCO 2 SUSAN TEDESCHI Don’t Think Twice It’s All Right (9) DISCO 3 SUSAN SANTOS Rattlesnake (1) DISCO 4 SHAWN COLVIN You’re Gonna Make Me Lonesome When you Go (12) DISCO 5 LENA HORNE Blowin’ In The Wind (Cara 2 Corte 1) DISCO 6 EVA RYJLEN Shangri-La (4) DISCO 7 EVA RYJLEN Bailas (3) DISCO 8 EVA RYJLEN Gotas de Luna Llena (10) Escuchar audio

This week, Laura and Robert are going back to the beginning to examine what we can learn about Bob Dylan’s unique style from listening to some early recordings. In the early 1960s, Dylan developed at such rapid speed, these recordings are precious documents of an artist finding his style and finding an audience along with it. We discuss which skills he honed until they were just right, the things he tried that were ultimately discarded, and we answer the question of who is playing the guitar on “Don’t Think Twice (It’s All Right)” (spoiler: we think a certain Dylan biographer is wrong).Playlist:House Of The Rising Sun [Mackenzie Home Tapes]All Over You (Gerde's Folk City, "The Banjo Tape", 8 February, 1963)Don't Think Twice (It's All Right) (Witmark Demo)Hero Blues [Take 1]That's All Right, Mama [Take 1]He Was A Friend Of Mine

Photo by Rob Youngson This week we’re continuing the Definitely Dylan tradition of doing a special episode dedicated to International Women’s Day. These are episodes that are very important to me because, even though the fight for women’s equality is a struggle that continues throughout the year, I like taking this opportunity to highlight the role of women in the world of Bob Dylan. This is a space that is still male-dominated, but women have played decisive roles as collaborators, scholars, fans, and interpreters of Bob Dylan’s work.This year, I’m very proud to bring you an episode with some Bob Dylan covers that were almost all exclusively recorded for Definitely Dylan by wonderfully talented female artists. I love their interpretations so much, and I know you will too!Playlist:Don’t Think Twice (It’s All Right) - Michele StodartIf You Gotta Go, Go Now* - Annie Needham (Definitely Dylan Basement Tapes)The Lonesome Death Of Hattie Carroll - Angela Gannon (Definitely Dylan Basement Tapes)One More Cup Of Coffee (The Valley Below) - Ren HarvieuMama You Been On My Mind - Naomi In BlueI Made Up My Mind To Give Myself To You - Emma Swift (Live at Grimey’s in Nashville, September 2020)Please check out these artists’ work and support them:You can stay up to date and support Michele Stodart’s work on her Patreon page, and you can listen to her first two solo records on Spotify.Find Annie Needham’s band Big Peyote on Spotify and instagram.Catch Angela Gannon on tour with The Magic Numbers in the UK this autumn.Ren Harvieu is on Instagram and you can ilsten to her brilliant album Revel In The Drama on Spotify.Listen to (and buy) Naomi in Blue’s excellent EP An Experiment on Bandcamp Should you not yet own Emma Swift’s beautiful album of Bob Dylan albums, Blonde On The Tracks, you can rectify this on her bandcamp, and you can also stay up to date with her upcoming projects on her Patreon page.Here’s the Spotify Playlist of Bob Dylan covers by female artists that I made last year:* Since we recorded this, I’ve thought quite a bit about the song “If You Gotta Go, Go Now”, which Annie Needham is singing so brilliantly here. I love her version because it’s deadpan, yet funny and lighthearted. When she sings it it’s flirty and, as I called it in the episode, cheeky. But I also think this song is very much of its time, and the lyrics, especially when sung by a man, can at times be perceived as pushy or even coercive, which is played for laughs in Dylan’s version, but consent is actually serious and crucial. There’s a lot more to this conversation, but it was just important to me, especially in the context of an episode for IWD, to clarify that this is not a topic that should be taken lightly.

Round 1 (6:04): Drama in your fam because of politics? The first story might make you feel a little bit better.. Former ZBT guest & congressman Adam Kinzinger is going through the wringer right now in the wake of the impeachment trial & my goodness does he have an annoying cousin. Round 2 (15:40): The perfect crime does exist and there’s an article about it in the Detroit Free Press. Round 3 (22:47): Ever crashed in a plane? Oh. You have? Ever crashed in a plane FOUR FUCKING TIMES and then fell in love? Interesting.We know someone who has. Round 4 (29:40): If you wish to make an apple pie from scratch, you must first invent the universe. Round 5 (39:49): Every job has its pros & cons but we asked YOU about the worst part of your MOS and as per usual the answers did not disappoint Song at the end is a cover of Don't Think Twice It's Alright by Billy Strings

Playlist: Doc Watson & Friends - Don't Think Twice It's AlrightReverend Gary Davis - Death Don't Have No MercyThe Chieftains - Changing Your DemeanourPhil Cody - Moonlight MidnightPaul Weller - English RosePhish - Split Open And MeltMiles Davis - Turnaroundphrase - Tune in 5Steve Kimock Band - One For Brother MikeHermeto Pascoal Y Grupo - Miles DavisSilly Wizard - Bank's Of The BannDar Williams - It Happens Every DayThe Grateful Dead - Row JimmyMae Moore - Pieces Of ClayFairport Convention - Jenny's Chickens/The Mason's ApronRuth Gerson - Chaos, Fortune & Tears

Live From Backstage January 10, 2021 Set - Let It Bleed - The Rolling Stones Cry Yourself Dry Travelin’ Song Brown Eyed Woman - GD Everything To Me Don’t Think Twice It’s Alright - Dylan Til The Light Comes Set 2 - Shaken

Winter arrived last week in Easdtern Pennsylvania with a dusting of snow and colder than average temperatures. This week on the program, we note the change of season with music from Peter Mayer, Ramblin' Jack Elliot, Fred Gosbee. The Sweetback Sisters, Peter Ostroushko and many more. Winter's Coming In … this week on Sing Out! Radio Magazine. Episode #20-52: Winter's Coming In Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Phil Passen / “On a Cold Winter's Day-Cold Froty Morning” / Cold Frosty Morning / Philbar Eli Lev & Megan Leigh / “The Longest Night of the Year” / The Longest Night of the Year Vol. 2 / Hudson Harding Peter Mayer / “The Longest Night” / Midwinter / Blue Boat Jay Ungar & Molly Mason / “A Rovin' On A Winter's Night” / The Pleasures of Winter / Fiddle & Dance Kenny Jackson / “The Shortest Day-Set the Log Alight” / The Shortest Day / Crow Hill Ramblin' Jack Elliot / “Introduction to Don't Think Twice It's Alright” / Tales from the Tavern Volume One / Tales from the Tavern Ramblin Jack Elliot / “Don't Think Twice It's Alright” / Tales from the Tavern Volume One / Tales from the Tavern Mae Robertson / “Every December Sky” / December Sky / LyricPartners Sheila Kay Adams & Jim Taylor / “Frosty Morn” / Christmas on the Mountain / PearlMae and Granny Dell Records Fred Gosbee / “The Night the Whiskey Froze” / The Night the Whiskey Froze / Castlebay The Sweetback Sisters / “Walking in a Winter Wonderland” / Country Christmas Singalong Spectacular Signature Sounds Tony Trischka / “Sleigh Ride” / Glory Shone Around / Rounder Peter Ostroushko / “Horizontal Hold” / Blue Mesa / Red House Anne & Pete Sibley / “Winter on the Great Divide” / Winter on the Great Divide / Self Produced Tony Elman / “Winter Creek” / Winter Creek / Acorn Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Episode one hundred and nine of A History of Rock Music in Five Hundred Songs looks at “Blowin’ in the Wind”, Peter, Paul and Mary, Bob Dylan, the UK folk scene and the civil rights movement. Those of you who get angry at me whenever I say anything that acknowledges the existence of racism may want to skip this one. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Santa Claus is Coming to Town” by the Crystals. 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   This compilation contains all Peter, Paul and Mary’s hits. I have used *many* books for this episode, most of which I will also be using for future episodes on Dylan: The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald is the fascinating and funny autobiography of Dylan’s mentor in his Greenwich Village period, including his interactions with Albert Grossman. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I’ve also used Robert Shelton’s No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Only one book exists on Peter, Paul, and Mary themselves, and it is a hideously overpriced coffee table book consisting mostly of photos, so I wouldn’t bother with it.  Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan’s 1962 visit to London.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Today we’re going to look at the first manufactured pop band we will see in this story, but not the last — a group cynically put together by a manager to try and cash in on a fad, but one who were important enough that in a small way they helped to change history. We’re going to look at the March on Washington and the civil rights movement, at Bob Dylan blossoming into a songwriter and the English folk revival, and at “Blowin’ in the Wind” by Peter, Paul, and Mary: [Excerpt: Peter, Paul and Mary, “Blowin’ in the Wind”] Albert Grossman was an unusual figure in the world of folk music. The folk revival had started out as an idealistic movement, mostly centred on Pete Seeger, and outside a few ultra-commercial acts like the Kingston Trio, most of the people involved were either doing it for the love of the music, or as a means of advancing their political goals. No doubt many of the performers on the burgeoning folk circuit were also quite keen to make money — there are very few musicians who don’t like being able to eat and have a home to live in — but very few of the people involved were primarily motivated by increasing their income. Grossman was a different matter. He was a businessman, and he was interested in money more than anything else — and for that he was despised by many of the people in the Greenwich Village folk scene. But he was, nonetheless, someone who was interested in making money *from folk music* specifically. And in the late fifties and early sixties this was less of a strange idea than it might have seemed. We talked back in the episode on “Drugstore Rock and Roll” about how rock and roll music was starting to be seen as the music of the teenager, and how “teenager” was, for the first time, becoming a marketing category into which people could be segmented. But the thing about music that’s aimed at a particular age group is that once you’re out of that age group you are no longer the target audience for that music. Someone who was sixteen in 1956 was twenty in 1960, and people in their twenties don’t necessarily want to be listening to music aimed at teenagers. But at the same time, those people didn’t want to listen to the music that their parents were listening to.  There’s no switch that gets flipped on your twentieth birthday that means that you suddenly no longer like Little Richard but instead like Rosemary Clooney. So there was a gap in the market, for music that was more adult than rock and roll was perceived as being, but which still set itself apart from the pop music that was listened to by people in their thirties and forties. And in the late fifties and early sixties, that gap seemed to be filled by a commercialised version of the folk revival.  In particular, Harry Belafonte had a huge run of massive hit albums with collections of folk, calypso, and blues songs, presented in a way that was acceptable to an older, more settled audience while still preserving some of the rawness of the originals, like his version of Lead Belly’s “Midnight Special”, recorded in 1962 with a young Bob Dylan on harmonica: [Excerpt: Harry Belafonte, “Midnight Special”] Meanwhile, the Kingston Trio had been having huge hits with cleaned-up versions of old folk ballads like “Tom Dooley”: [Excerpt: The Kingston Trio, “Tom Dooley”] So Grossman believed that there was a real market out there for something that was as clean and bright and friendly as the Kingston Trio, but with just a tiny hint of the bohemian Greenwich Village atmosphere to go with it. Something that wouldn’t scare TV people and DJs, but which might seem just the tiniest bit more radical than the Kingston Trio did. Something mass-produced, but which seemed more authentic. So Grossman decided to put together what we would now call a manufactured pop group. It would be a bit like the Kingston Trio, but ever so slightly more political, and rather than being three men, it would be two men and a woman. Grossman had very particular ideas about what he wanted — he wanted a waifish, beautiful woman at the centre of the group, he wanted a man who brought a sense of folk authenticity, and he wanted someone who could add a comedy element to the performances, to lighten them.  For the woman, he chose Mary Travers, who had been around the folk scene for several years at this point, starting out with a group called the Song Swappers, who had recorded an album of union songs with Pete Seeger back in 1955: [Excerpt: Pete Seeger and the Song Swappers, “Solidarity Forever”] Travers was chosen in part because of her relative shyness — she had never wanted to be a professional singer, and her introverted nature made her perfect for the image Grossman wanted — an image that was carefully cultivated, to the point that when the group were rehearsing in Florida, Grossman insisted Travers stay inside so she wouldn’t get a tan and spoil her image. As the authentic male folk singer, Grossman chose Peter Yarrow, who was the highest profile of the three, as he had performed as a solo artist for a number of years and had appeared on TV and at the Newport Folk Festival, though he had not yet recorded. And for the comedy element, he chose Noel Stookey, who regularly performed as a comedian around Greenwich Village — in the group’s very slim autobiography, Stookey compares himself to two other comedians on that circuit, Bill Cosby and Woody Allen, comparisons that were a much better look in 2009 when the book was published than they are today. Grossman had originally wanted Dave Van Ronk to be the low harmony singer, rather than Stookey, but Van Ronk turned him down flat, wanting no part of a Greenwich Village Kingston Trio, though he later said he sometimes looked at his bank account rather wistfully. The group’s name was, apparently, inspired by a line in the old folk song “I Was Born About 10,000 Years Ago”, which was recorded by many people, but most famously by Elvis Presley in the 1970s: [Excerpt: Elvis Presley, “I Was Born About 10,000 Years Ago”] The “Peter, Paul, and Moses” from that song became Peter, Paul and Mary — Stookey started going by his middle name, Paul, on stage, in order to fit the group name, though he still uses Noel in his daily life. While Peter, Paul, and Mary were the front people of the group, there were several other people who were involved in the creative process — the group used a regular bass player, Bill Lee, the father of the filmmaker Spike Lee, who played on all their recordings, as well as many other recordings from Greenwich Village folk musicians. They also had, as their musical director, a man named Milt Okun who came up with their arrangements and helped them choose and shape the material. Grossman shaped this team into a formidable commercial force. Almost everyone who talks about Grossman compares him to Colonel Tom Parker, and the comparison is a reasonable one. Grossman was extremely good at making money for his acts, so long as a big chunk of the money came to him. There’s a story about him signing Odetta, one of the great folk artists of the period, and telling her “you can stay with your current manager, and make a hundred thousand dollars this year, and he’ll take twenty percent, or you can come with me, and make a quarter of a million dollars, but I’ll take fifty percent”. That was the attitude that Grossman took to everyone. He cut himself in to every contract, salami-slicing his artists’ royalties at each stage. But it can’t be denied that his commercial instincts were sound. Peter, Paul, and Mary’s first album was a huge success. The second single from the album, their version of the old Weavers song “If I Had a Hammer”, written by Pete Seeger and Lee Hays, went to number ten on the pop charts: [Excerpt: Peter, Paul and Mary, “If I Had a Hammer”] And the album itself went to number one and eventually went double-platinum — a remarkable feat for a collection of songs that, however prettily arranged, contained a fairly uncompromising selection of music from the folk scene, with songs by Seeger, Dave van Ronk, and Rev. Gary Davis mixing with traditional songs like “This Train” and originals by Stookey and Yarrow. Their second album was less successful at first, with its first two singles flopping. But the third, a pretty children’s song by Yarrow and his friend Leonard Lipton, went to number two on the pop charts and number one on the Adult Contemporary charts: [Excerpt: Peter, Paul, and Mary, “Puff the Magic Dragon”] Incidentally, Leonard Lipton, who wrote that lyric, became independently wealthy from the royalties from the song, and used the leisure that gave him to pursue his passion of inventing 3D projection systems, which eventually made him an even wealthier man — if you’ve seen a 3D film in the cinema in the last couple of decades, it’s almost certainly been using the systems Lipton invented. So Peter, Paul, and Mary were big stars, and having big hits. And Albert Grossman was constantly on the lookout for more material for them. And eventually he found it, and the song that was to make both him, his group, and its writer, very, very rich, in the pages of Broadside magazine. When we left Bob Dylan, he was still primarily a performer, and not really known for his songwriting, but he had already written a handful of songs, and he was being drawn into the more political side of the folk scene. In large part this was because of his girlfriend, Suze Rotolo, with whom Dylan was very deeply in love, and who was a very political person indeed. Dylan had political views, but wasn’t particularly driven by them — Rotolo very much was, and encouraged him to write songs about politics. For much of early 1962, Dylan was being pulled in two directions at once — he was writing songs inspired by Robert Johnson, and trying to adapt Johnson’s style to fit himself, but at the same time he was writing songs like “The Death of Emmett Till”, about the 1955 murder of a Black teenager which had galvanised the civil rights movement, and “The Ballad of Donald White”, about a Black man on death row. Dylan would later be very dismissive of these attempts at topicality, saying “I realize now that my reasons and motives behind it were phony, I didn’t have to write it; I was bothered by many other things that I pretended I wasn’t bothered by, in order to write this song about Emmett Till, a person I never even knew”. But at the time they got him a great deal of attention in the small US folk-music scene, when they were published in magazines like Broadside and Sing Out, which collected political songs. Most of these early songs are juvenilia, with a couple of exceptions like the rather marvellous anti-bomb song “Let Me Die in My Footsteps”, but the song that changed everything for Dylan was a different matter.  “Blowin’ in the Wind” was inspired by the melody of the old nineteenth century song “No More Auction Block”, a song that is often described as a “spiritual”, though in fact it’s a purely secular song about slavery: [Excerpt: Odetta, “No More Auction Block”] That song had seen something of a revival in folk circles in the late fifties, especially because part of its melody had been incorporated into another song, “We Shall Overcome”, which had become an anthem of the civil rights movement when it was revived and adapted by Pete Seeger: [Excerpt: Pete Seeger, “We Shall Overcome”] Dylan took this melody, with its associations with the fight for the rights of Black people, and came up with new lyrics, starting with the line “How many roads must a man walk down, before you call him a man?” He wrote two verses of the song — the first and last verses — in a short burst of inspiration, and a few weeks later came back to it and added another verse, the second, which incorporated allusions to the Biblical prophet Ezekiel, and which is notably less inspired than those earlier verses. In later decades, many people have looked at the lyrics to the song and seen it as the first of what would become a whole subgenre of non-protest protest songs — they’ve seen the abstraction of “How many roads must a man walk down before you call him a man?” as being nice-sounding rhetoric that doesn’t actually mean anything, in much the same way as something like, say, “Another Day in Paradise” or “Eve of Destruction”, songs that make nonspecific complaints about nonspecific bad things. But while “Blowin’ in the Wind” is a song that has multiple meanings and can be applied to multiple situations, as most good songs can, that line was, at the time in which it was written, a very concrete question. The civil rights movement was asking for many things — for the right to vote, for an end to segregation, for an end to police brutality, but also for basic respect and acknowledgment of Black people’s shared humanity. We’ve already heard in a couple of past episodes Big Bill Broonzy singing “When Do I Get to Be Called a Man?”: [Excerpt: Big Bill Broonzy, “When Do I Get to Be Called a Man?”] Because at the time, it was normal for white people to refer to Black men as “boy”. As Dr. Martin Luther King said in his “Letter From Birmingham Jail”, one of the greatest pieces of writing of the twentieth century, a letter in large part about how white moderates were holding Black people back with demands to be “reasonable” and let things take their time: “when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society… when your first name becomes“ and here Dr. King uses a racial slur which I, as a white man, will not say, “and your middle name becomes “boy” (however old you are) and your last name becomes “John,” and when your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of “nobodyness”—then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over and men are no longer willing to be plunged into an abyss of injustice where they experience the bleakness of corroding despair.” King’s great letter was written in 1963, less than a year after Dylan was writing his song but before it became widely known. In the context of 1962, the demand to call a man a man was a very real political issue, not an aphorism that could go in a Hallmark card. Dylan recorded the song in June 1962, during the sessions for his second album, which at the time was going under the working title “Bob Dylan’s Blues”: [Excerpt: Bob Dylan, “Blowin’ in the Wind”] By the time he recorded it, two major changes had happened to him. The first was that Suze Rotolo had travelled to Spain for several months, leaving him bereft — for the next few months, his songwriting took a turn towards songs about either longing for the return of a lost love, like “Tomorrow is a Long Time”, one of his most romantic songs, or about how the protagonist doesn’t even need his girlfriend anyway and she can leave if she likes, see if he cares, like “Don’t Think Twice It’s Alright”. The other change was that Albert Grossman had become his manager, largely on the strength of “Blowin’ in the Wind”, which Grossman thought had huge potential. Grossman signed Dylan up, taking twenty percent of all his earnings — including on the contract with Columbia Records Dylan already had — and got him signed to a new publisher, Witmark Publishing, where the aptly-named Artie Mogull thought that “Blowin’ in the Wind” could be marketed. Grossman took his twenty percent of Dylan’s share of the songwriting money as his commission from Dylan — and fifty percent of Witmark’s share of the money as his commission from Witmark, meaning that Dylan was getting forty percent of the money for writing the songs, while Grossman was getting thirty-five percent. Grossman immediately got involved in the recording of Dylan’s second album, and started having personality clashes with John Hammond. It was apparently Grossman who suggested that Dylan “go electric” for the first time, with the late-1962 single “Mixed-Up Confusion”: [Excerpt: Bob Dylan, “Mixed-Up Confusion”] Neither Hammond nor Dylan liked that record, and it seemed clear for the moment that the way forward for Dylan was to continue in an acoustic folk vein. Dylan was also starting to get inspired more by English folk music, and incorporate borrowings from English music into his songwriting. That’s most apparent in “A Hard Rain’s A-Gonna Fall”, written in September 1962. Dylan took the structure of that song from the old English ballad, “Lord Randall”: [Excerpt: Ewan MacColl, “Lord Randall”] He reworked that structure into a song of apocalypse, again full of the Biblical imagery he’d tried in the second verse of  “Blowin’ in the Wind”, but this time more successfully incorporating it: [Excerpt: Bob Dylan, “A Hard Rain’s A-Gonna Fall”] His interest in English folk music was to become more important in his songwriting in the following months, as Dylan was about to travel to the UK and encounter the British folk music scene. A TV director called Philip Saville had seen Dylan performing in New York, and had decided he would be perfect for the role of a poet in a TV play he was putting on, Madhouse in Castle Street, and got Dylan flown over to perform in it. Unfortunately, no-one seems to have told Dylan what would be involved in this, and he proved incapable of learning his lines or acting, so the show was rethought — the role of the poet was given to David Warner, later to become one of Britain’s most famous screen actors, and Dylan was cast in a new role as a singer called “Bobby”, who had few or no lines but did get to sing a few songs, including “Blowin’ in the Wind”, which was the first time the song was heard by anyone outside of the New York folk scene. Dylan was in London for about a month, and while he was there he immersed himself in the British folk scene. This scene was in some ways modelled on the American scene, and had some of the same people involved, but it was very different. The initial spark for the British folk revival had come in the late 1940s, when A.L. Lloyd, a member of the Communist Party, had published a book of folk songs he’d collected, along with some Marxist analysis of how folk songs evolved. In the early fifties, Alan Lomax, then in the UK to escape McCarthyism, put Lloyd in touch with Ewan MacColl, a songwriter and performer from Manchester, who we heard earlier singing “Lord Randall”. MacColl, like Lloyd, was a Communist, but the two also shared a passion for older folk songs, and they began recording and performing together, recording traditional songs like “The Handsome Cabin Boy”: [Excerpt: Ewan MacColl and A.L. Lloyd, “The Handsome Cabin Boy”] MacColl and Lloyd latched on to the skiffle movement, and MacColl started his own club night, Ballads and Blues, which tried to push the skifflers in the direction of performing more music based in English traditional music. This had already been happening to an extent with things like the Vipers performing “Maggie May”, a song about a sex worker in Liverpool: [Excerpt: The Vipers Skiffle Group, “Maggie May”] But this started to happen a lot more with MacColl’s encouragement. At one point in 1956, there was even a TV show hosted by Lomax and featuring a band that included Lomax, MacColl, Jim Bray, the bass player from Chris Barber’s band, Shirley Collins — a folk singer who was also Lomax’s partner — and Peggy Seeger, who was Pete Seeger’s sister and who had also entered into a romantic relationship with MacColl, whose most famous song, “The First Time Ever I Saw Your Face”, was written both about and for her: [Excerpt: Peggy Seeger, “The First Time Ever I Saw Your Face”] It was Seeger who instigated what became the most notable feature at the Ballads and Blues club and its successor the Singer’s Club. She’d burst out laughing when she saw Long John Baldry sing “Rock Island Line”, because he was attempting to sing in an American accent. As someone who had actually known Lead Belly, she found British imitations of his singing ludicrous, and soon there was a policy at the clubs that people would only sing songs that were originally sung with their normal vowel sounds. So Seeger could only sing songs from the East Coast of the US, because she didn’t have the Western vowels of a Woody Guthrie, while MacColl could sing English and Scottish songs, but nothing from Wales or Ireland. As the skiffle craze died down, it splintered into several linked scenes. We’ve already seen how in Liverpool and London it spawned guitar groups like the Shadows and the Beatles, while in London it also led to the electric blues scene. It also led to a folk scene that was very linked to the blues scene at first, but was separate from it, and which was far more political, centred around MacColl. That scene, like the US one, combined topical songs about political events from a far-left viewpoint with performances of traditional songs, but in the case of the British one these were mostly old sea shanties and sailors’ songs, and the ancient Child Ballads, rather than Appalachian country music — though a lot of the songs have similar roots.  And unlike the blues scene, the folk scene spread all over the country. There were clubs in Manchester, in Liverpool (run by the group the Spinners), in Bradford, in Hull (run by the Waterson family) and most other major British cities. The musicians who played these venues were often inspired by MacColl and Lloyd, but the younger generation of musicians often looked askance at what they saw as MacColl’s dogmatic approach, preferring to just make good music rather than submit it to what they saw as MacColl’s ideological purity test, even as they admired his musicianship and largely agreed with his politics. And one of these younger musicians was a guitarist named Martin Carthy, who was playing a club called the King and Queen on Goodge Street when he saw Bob Dylan walk in. He recognised Dylan from the cover of Sing Out! magazine, and invited him to get up on stage and do a few numbers. For the next few weeks, Carthy showed Dylan round the folk scene — Dylan went down great at the venues where Carthy normally played, and at the Roundhouse, but flopped around the venues that were dominated by MacColl, as the people there seemed to think of Dylan as a sort of cut-rate Ramblin’ Jack Elliot, as Elliot had been such a big part of the skiffle and folk scenes. Carthy also taught Dylan a number of English folk songs, including “Lord Franklin”: [Excerpt: Martin Carthy, “Lord Franklin”] and “Scarborough Fair”: [Excerpt: Martin Carthy, “Scarborough Fair”] Dylan immediately incorporated the music he’d learned from Carthy into his songwriting, basing “Bob Dylan’s Dream” on “Lord Franklin”, and even more closely basing “GIrl From the North Country” on “Scarborough Fair”: [Excerpt: Bob Dylan, “Girl From The North Country”] After his trip to London, Dylan went over to Europe to see if he could catch up with Suze, but she had already gone back to New York — their letters to each other crossed in the post. On his return, they reunited at least for a while, and she posed with him for the photo for the cover of what was to be his second album.  Dylan had thought that album completed when he left for England, but he soon discovered that there were problems with the album — the record label didn’t want to release the comedy talking blues “Talking John Birch Society Paranoid Blues”, because they thought it might upset the fascists in the John Birch Society. The same thing would later make sure that Dylan never played the Ed Sullivan Show, because when he was booked onto the show he insisted on playing that song, and so they cancelled the booking. In this case, though, it gave him an excuse to remove what he saw as the weaker songs on the album, including “Tomorrow is a Long Time”, and replace them with four new songs, three of them inspired by traditional English folk songs — “Bob Dylan’s Dream”,  “Girl From the North Country”, and “Masters of War” which took its melody from the old folk song “Nottamun Town” popularised on the British folk circuit by an American singer, Jean Ritchie: [Excerpt: Jean Ritchie, “Nottamun Town”] These new recordings weren’t produced by John Hammond, as the rest of the album was. Albert Grossman had been trying from the start to get total control over Dylan, and didn’t want Hammond, who had been around before Grossman, involved in Dylan’s career. Instead, a new producer named Tom Wilson was in charge. Wilson was a remarkable man, but seemed an odd fit for a left-wing folk album. He was one of the few Black producers working for a major label, though he’d started out as an indie producer. He was a Harvard economics graduate, and had been president of the Young Republicans during his time there — he remained a conservative all his life — but he was far from conservative in his musical tastes. When he’d left university, he’d borrowed nine hundred dollars and started his own record label, Transition, which had put out some of the best experimental jazz of the fifties, produced by Wilson, including the debut albums by Sun Ra: [Excerpt: Sun Ra, “Brainville”] and Cecil Taylor: [Excerpt: Cecil Taylor, “Bemsha Swing”] Wilson later described his first impressions of Dylan: “I didn’t even particularly like folk music. I’d been recording Sun Ra and Coltrane … I thought folk music was for the dumb guys. This guy played like the dumb guys, but then these words came out. I was flabbergasted.” Wilson would soon play a big part in Dylan’s career, but for now his job was just to get those last few tracks for the album recorded. In the end, the final recording session for Dylan’s second album was more than a year after the first one, and it came out into a very different context from when he’d started recording it. Because while Dylan was putting the finishing touches on his second album, Peter Paul and Mary were working on their third, and they were encouraged by Grossman to record three Bob Dylan songs, since that way Grossman would make more money from them. Their version of “Blowin’ in the Wind” came out as a single a few weeks after The Freewheelin’ Bob Dylan came out, and sold 300,000 copies in the first week: [Excerpt: Peter, Paul, and Mary, “Blowin’ in the Wind”] The record went to number two on the charts, and their followup, “Don’t Think Twice it’s Alright”, another Dylan song, went top ten as well.  “Blowin’ in the Wind” became an instant standard, and was especially picked up by Black performers, as it became a civil rights anthem. Mavis Staples of the Staple Singers said later that she was astonished that a white man could write a line like “How many roads must a man walk down before you call him a man?”, saying “That’s what my father experienced” — and the Staple Singers recorded it, of course: [Excerpt: The Staple Singers, “Blowin’ in the Wind”] as did Sam Cooke: [Excerpt: Sam Cooke, “Blowin’ in the Wind”] And Stevie Wonder: [Excerpt: Stevie Wonder, “Blowin’ in the Wind”] But the song’s most important performance came from Peter, Paul and Mary, performing it on a bill with Dylan, Odetta, Joan Baez, and Mahalia Jackson in August 1963, just as the song had started to descend the charts. Because those artists were the entertainment for the March on Washington, in which more than a quarter of a million people descended on Washington both to support President Kennedy’s civil rights bill and to speak out and say that it wasn’t going far enough. That was one of the great moments in American political history, full of incendiary speeches like the one by John Lewis: [Excerpt: John Lewis, March on Washington speech] But the most memorable moment at that march  came when Dr. King was giving his speech. Mahalia Jackson shouted out “Tell them about the dream, Martin”, and King departed from his prepared words and instead improvised based on themes he’d used in other speeches previously, coming out with some of the most famous words ever spoken: [Excerpt: Martin Luther King, “I Have a Dream”] The civil rights movement was more than one moment, however inspiring, and white people like myself have a tendency to reduce it just to Dr. King, and to reduce Dr. King just to those words — which is one reason why I quoted from Letter From Birmingham Jail earlier, as that is a much less safe and canonised piece of writing. But it’s still true to say that if there is a single most important moment in the history of the post-war struggle for Black rights, it was that moment, and because of “Blowin’ in the Wind”, both Dylan and Peter, Paul and Mary were minor parts of that event. After 1963, Peter, Paul and Mary quickly became passe with the British Invasion, only having two more top ten hits, one with a novelty song in 1967 and one with “Leaving on a Jet Plane” in 1969. They split up in 1970, and around that time Yarrow was arrested and convicted for a sexual offence involving a fourteen-year-old girl, though he was later pardoned by President Carter. The group reformed in 1978 and toured the nostalgia circuit until Mary’s death in 2009. The other two still occasionally perform together, as Peter and Noel Paul. Bob Dylan, of course, went on to bigger things after “Blowin’ in the Wind” suddenly made him into the voice of a generation — a position he didn’t ask for and didn’t seem to want. We’ll be hearing much more from him. And we’ll also be hearing more about the struggle for Black civil rights, as that’s a story, much like Dylan’s, that continues to this day.

Episode one hundred and nine of A History of Rock Music in Five Hundred Songs looks at "Blowin' in the Wind", Peter, Paul and Mary, Bob Dylan, the UK folk scene and the civil rights movement. Those of you who get angry at me whenever I say anything that acknowledges the existence of racism may want to skip this one. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Santa Claus is Coming to Town" by the Crystals. 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/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   This compilation contains all Peter, Paul and Mary's hits. I have used *many* books for this episode, most of which I will also be using for future episodes on Dylan: The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald is the fascinating and funny autobiography of Dylan's mentor in his Greenwich Village period, including his interactions with Albert Grossman. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Only one book exists on Peter, Paul, and Mary themselves, and it is a hideously overpriced coffee table book consisting mostly of photos, so I wouldn't bother with it.  Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Today we're going to look at the first manufactured pop band we will see in this story, but not the last -- a group cynically put together by a manager to try and cash in on a fad, but one who were important enough that in a small way they helped to change history. We're going to look at the March on Washington and the civil rights movement, at Bob Dylan blossoming into a songwriter and the English folk revival, and at "Blowin' in the Wind" by Peter, Paul, and Mary: [Excerpt: Peter, Paul and Mary, "Blowin' in the Wind"] Albert Grossman was an unusual figure in the world of folk music. The folk revival had started out as an idealistic movement, mostly centred on Pete Seeger, and outside a few ultra-commercial acts like the Kingston Trio, most of the people involved were either doing it for the love of the music, or as a means of advancing their political goals. No doubt many of the performers on the burgeoning folk circuit were also quite keen to make money -- there are very few musicians who don't like being able to eat and have a home to live in -- but very few of the people involved were primarily motivated by increasing their income. Grossman was a different matter. He was a businessman, and he was interested in money more than anything else -- and for that he was despised by many of the people in the Greenwich Village folk scene. But he was, nonetheless, someone who was interested in making money *from folk music* specifically. And in the late fifties and early sixties this was less of a strange idea than it might have seemed. We talked back in the episode on "Drugstore Rock and Roll" about how rock and roll music was starting to be seen as the music of the teenager, and how "teenager" was, for the first time, becoming a marketing category into which people could be segmented. But the thing about music that's aimed at a particular age group is that once you're out of that age group you are no longer the target audience for that music. Someone who was sixteen in 1956 was twenty in 1960, and people in their twenties don't necessarily want to be listening to music aimed at teenagers. But at the same time, those people didn't want to listen to the music that their parents were listening to.  There's no switch that gets flipped on your twentieth birthday that means that you suddenly no longer like Little Richard but instead like Rosemary Clooney. So there was a gap in the market, for music that was more adult than rock and roll was perceived as being, but which still set itself apart from the pop music that was listened to by people in their thirties and forties. And in the late fifties and early sixties, that gap seemed to be filled by a commercialised version of the folk revival.  In particular, Harry Belafonte had a huge run of massive hit albums with collections of folk, calypso, and blues songs, presented in a way that was acceptable to an older, more settled audience while still preserving some of the rawness of the originals, like his version of Lead Belly's "Midnight Special", recorded in 1962 with a young Bob Dylan on harmonica: [Excerpt: Harry Belafonte, "Midnight Special"] Meanwhile, the Kingston Trio had been having huge hits with cleaned-up versions of old folk ballads like "Tom Dooley": [Excerpt: The Kingston Trio, "Tom Dooley"] So Grossman believed that there was a real market out there for something that was as clean and bright and friendly as the Kingston Trio, but with just a tiny hint of the bohemian Greenwich Village atmosphere to go with it. Something that wouldn't scare TV people and DJs, but which might seem just the tiniest bit more radical than the Kingston Trio did. Something mass-produced, but which seemed more authentic. So Grossman decided to put together what we would now call a manufactured pop group. It would be a bit like the Kingston Trio, but ever so slightly more political, and rather than being three men, it would be two men and a woman. Grossman had very particular ideas about what he wanted -- he wanted a waifish, beautiful woman at the centre of the group, he wanted a man who brought a sense of folk authenticity, and he wanted someone who could add a comedy element to the performances, to lighten them.  For the woman, he chose Mary Travers, who had been around the folk scene for several years at this point, starting out with a group called the Song Swappers, who had recorded an album of union songs with Pete Seeger back in 1955: [Excerpt: Pete Seeger and the Song Swappers, "Solidarity Forever"] Travers was chosen in part because of her relative shyness -- she had never wanted to be a professional singer, and her introverted nature made her perfect for the image Grossman wanted -- an image that was carefully cultivated, to the point that when the group were rehearsing in Florida, Grossman insisted Travers stay inside so she wouldn't get a tan and spoil her image. As the authentic male folk singer, Grossman chose Peter Yarrow, who was the highest profile of the three, as he had performed as a solo artist for a number of years and had appeared on TV and at the Newport Folk Festival, though he had not yet recorded. And for the comedy element, he chose Noel Stookey, who regularly performed as a comedian around Greenwich Village -- in the group's very slim autobiography, Stookey compares himself to two other comedians on that circuit, Bill Cosby and Woody Allen, comparisons that were a much better look in 2009 when the book was published than they are today. Grossman had originally wanted Dave Van Ronk to be the low harmony singer, rather than Stookey, but Van Ronk turned him down flat, wanting no part of a Greenwich Village Kingston Trio, though he later said he sometimes looked at his bank account rather wistfully. The group's name was, apparently, inspired by a line in the old folk song "I Was Born About 10,000 Years Ago", which was recorded by many people, but most famously by Elvis Presley in the 1970s: [Excerpt: Elvis Presley, "I Was Born About 10,000 Years Ago"] The "Peter, Paul, and Moses" from that song became Peter, Paul and Mary -- Stookey started going by his middle name, Paul, on stage, in order to fit the group name, though he still uses Noel in his daily life. While Peter, Paul, and Mary were the front people of the group, there were several other people who were involved in the creative process -- the group used a regular bass player, Bill Lee, the father of the filmmaker Spike Lee, who played on all their recordings, as well as many other recordings from Greenwich Village folk musicians. They also had, as their musical director, a man named Milt Okun who came up with their arrangements and helped them choose and shape the material. Grossman shaped this team into a formidable commercial force. Almost everyone who talks about Grossman compares him to Colonel Tom Parker, and the comparison is a reasonable one. Grossman was extremely good at making money for his acts, so long as a big chunk of the money came to him. There's a story about him signing Odetta, one of the great folk artists of the period, and telling her "you can stay with your current manager, and make a hundred thousand dollars this year, and he'll take twenty percent, or you can come with me, and make a quarter of a million dollars, but I'll take fifty percent". That was the attitude that Grossman took to everyone. He cut himself in to every contract, salami-slicing his artists' royalties at each stage. But it can't be denied that his commercial instincts were sound. Peter, Paul, and Mary's first album was a huge success. The second single from the album, their version of the old Weavers song "If I Had a Hammer", written by Pete Seeger and Lee Hays, went to number ten on the pop charts: [Excerpt: Peter, Paul and Mary, "If I Had a Hammer"] And the album itself went to number one and eventually went double-platinum -- a remarkable feat for a collection of songs that, however prettily arranged, contained a fairly uncompromising selection of music from the folk scene, with songs by Seeger, Dave van Ronk, and Rev. Gary Davis mixing with traditional songs like "This Train" and originals by Stookey and Yarrow. Their second album was less successful at first, with its first two singles flopping. But the third, a pretty children's song by Yarrow and his friend Leonard Lipton, went to number two on the pop charts and number one on the Adult Contemporary charts: [Excerpt: Peter, Paul, and Mary, "Puff the Magic Dragon"] Incidentally, Leonard Lipton, who wrote that lyric, became independently wealthy from the royalties from the song, and used the leisure that gave him to pursue his passion of inventing 3D projection systems, which eventually made him an even wealthier man -- if you've seen a 3D film in the cinema in the last couple of decades, it's almost certainly been using the systems Lipton invented. So Peter, Paul, and Mary were big stars, and having big hits. And Albert Grossman was constantly on the lookout for more material for them. And eventually he found it, and the song that was to make both him, his group, and its writer, very, very rich, in the pages of Broadside magazine. When we left Bob Dylan, he was still primarily a performer, and not really known for his songwriting, but he had already written a handful of songs, and he was being drawn into the more political side of the folk scene. In large part this was because of his girlfriend, Suze Rotolo, with whom Dylan was very deeply in love, and who was a very political person indeed. Dylan had political views, but wasn't particularly driven by them -- Rotolo very much was, and encouraged him to write songs about politics. For much of early 1962, Dylan was being pulled in two directions at once -- he was writing songs inspired by Robert Johnson, and trying to adapt Johnson's style to fit himself, but at the same time he was writing songs like "The Death of Emmett Till", about the 1955 murder of a Black teenager which had galvanised the civil rights movement, and "The Ballad of Donald White", about a Black man on death row. Dylan would later be very dismissive of these attempts at topicality, saying "I realize now that my reasons and motives behind it were phony, I didn’t have to write it; I was bothered by many other things that I pretended I wasn’t bothered by, in order to write this song about Emmett Till, a person I never even knew". But at the time they got him a great deal of attention in the small US folk-music scene, when they were published in magazines like Broadside and Sing Out, which collected political songs. Most of these early songs are juvenilia, with a couple of exceptions like the rather marvellous anti-bomb song "Let Me Die in My Footsteps", but the song that changed everything for Dylan was a different matter.  "Blowin' in the Wind" was inspired by the melody of the old nineteenth century song "No More Auction Block", a song that is often described as a "spiritual", though in fact it's a purely secular song about slavery: [Excerpt: Odetta, "No More Auction Block"] That song had seen something of a revival in folk circles in the late fifties, especially because part of its melody had been incorporated into another song, "We Shall Overcome", which had become an anthem of the civil rights movement when it was revived and adapted by Pete Seeger: [Excerpt: Pete Seeger, "We Shall Overcome"] Dylan took this melody, with its associations with the fight for the rights of Black people, and came up with new lyrics, starting with the line "How many roads must a man walk down, before you call him a man?" He wrote two verses of the song -- the first and last verses -- in a short burst of inspiration, and a few weeks later came back to it and added another verse, the second, which incorporated allusions to the Biblical prophet Ezekiel, and which is notably less inspired than those earlier verses. In later decades, many people have looked at the lyrics to the song and seen it as the first of what would become a whole subgenre of non-protest protest songs -- they've seen the abstraction of "How many roads must a man walk down before you call him a man?" as being nice-sounding rhetoric that doesn't actually mean anything, in much the same way as something like, say, "Another Day in Paradise" or "Eve of Destruction", songs that make nonspecific complaints about nonspecific bad things. But while "Blowin' in the Wind" is a song that has multiple meanings and can be applied to multiple situations, as most good songs can, that line was, at the time in which it was written, a very concrete question. The civil rights movement was asking for many things -- for the right to vote, for an end to segregation, for an end to police brutality, but also for basic respect and acknowledgment of Black people's shared humanity. We've already heard in a couple of past episodes Big Bill Broonzy singing "When Do I Get to Be Called a Man?": [Excerpt: Big Bill Broonzy, "When Do I Get to Be Called a Man?"] Because at the time, it was normal for white people to refer to Black men as "boy". As Dr. Martin Luther King said in his "Letter From Birmingham Jail", one of the greatest pieces of writing of the twentieth century, a letter in large part about how white moderates were holding Black people back with demands to be "reasonable" and let things take their time: "when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society... when your first name becomes“ and here Dr. King uses a racial slur which I, as a white man, will not say, "and your middle name becomes “boy” (however old you are) and your last name becomes “John,” and when your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of “nobodyness”—then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over and men are no longer willing to be plunged into an abyss of injustice where they experience the bleakness of corroding despair." King's great letter was written in 1963, less than a year after Dylan was writing his song but before it became widely known. In the context of 1962, the demand to call a man a man was a very real political issue, not an aphorism that could go in a Hallmark card. Dylan recorded the song in June 1962, during the sessions for his second album, which at the time was going under the working title "Bob Dylan's Blues": [Excerpt: Bob Dylan, "Blowin' in the Wind"] By the time he recorded it, two major changes had happened to him. The first was that Suze Rotolo had travelled to Spain for several months, leaving him bereft -- for the next few months, his songwriting took a turn towards songs about either longing for the return of a lost love, like "Tomorrow is a Long Time", one of his most romantic songs, or about how the protagonist doesn't even need his girlfriend anyway and she can leave if she likes, see if he cares, like "Don't Think Twice It's Alright". The other change was that Albert Grossman had become his manager, largely on the strength of "Blowin' in the Wind", which Grossman thought had huge potential. Grossman signed Dylan up, taking twenty percent of all his earnings -- including on the contract with Columbia Records Dylan already had -- and got him signed to a new publisher, Witmark Publishing, where the aptly-named Artie Mogull thought that "Blowin' in the Wind" could be marketed. Grossman took his twenty percent of Dylan's share of the songwriting money as his commission from Dylan -- and fifty percent of Witmark's share of the money as his commission from Witmark, meaning that Dylan was getting forty percent of the money for writing the songs, while Grossman was getting thirty-five percent. Grossman immediately got involved in the recording of Dylan's second album, and started having personality clashes with John Hammond. It was apparently Grossman who suggested that Dylan "go electric" for the first time, with the late-1962 single "Mixed-Up Confusion": [Excerpt: Bob Dylan, "Mixed-Up Confusion"] Neither Hammond nor Dylan liked that record, and it seemed clear for the moment that the way forward for Dylan was to continue in an acoustic folk vein. Dylan was also starting to get inspired more by English folk music, and incorporate borrowings from English music into his songwriting. That's most apparent in "A Hard Rain's A-Gonna Fall", written in September 1962. Dylan took the structure of that song from the old English ballad, "Lord Randall": [Excerpt: Ewan MacColl, "Lord Randall"] He reworked that structure into a song of apocalypse, again full of the Biblical imagery he'd tried in the second verse of  "Blowin' in the Wind", but this time more successfully incorporating it: [Excerpt: Bob Dylan, "A Hard Rain's A-Gonna Fall"] His interest in English folk music was to become more important in his songwriting in the following months, as Dylan was about to travel to the UK and encounter the British folk music scene. A TV director called Philip Saville had seen Dylan performing in New York, and had decided he would be perfect for the role of a poet in a TV play he was putting on, Madhouse in Castle Street, and got Dylan flown over to perform in it. Unfortunately, no-one seems to have told Dylan what would be involved in this, and he proved incapable of learning his lines or acting, so the show was rethought -- the role of the poet was given to David Warner, later to become one of Britain's most famous screen actors, and Dylan was cast in a new role as a singer called "Bobby", who had few or no lines but did get to sing a few songs, including "Blowin' in the Wind", which was the first time the song was heard by anyone outside of the New York folk scene. Dylan was in London for about a month, and while he was there he immersed himself in the British folk scene. This scene was in some ways modelled on the American scene, and had some of the same people involved, but it was very different. The initial spark for the British folk revival had come in the late 1940s, when A.L. Lloyd, a member of the Communist Party, had published a book of folk songs he'd collected, along with some Marxist analysis of how folk songs evolved. In the early fifties, Alan Lomax, then in the UK to escape McCarthyism, put Lloyd in touch with Ewan MacColl, a songwriter and performer from Manchester, who we heard earlier singing "Lord Randall". MacColl, like Lloyd, was a Communist, but the two also shared a passion for older folk songs, and they began recording and performing together, recording traditional songs like "The Handsome Cabin Boy": [Excerpt: Ewan MacColl and A.L. Lloyd, "The Handsome Cabin Boy"] MacColl and Lloyd latched on to the skiffle movement, and MacColl started his own club night, Ballads and Blues, which tried to push the skifflers in the direction of performing more music based in English traditional music. This had already been happening to an extent with things like the Vipers performing "Maggie May", a song about a sex worker in Liverpool: [Excerpt: The Vipers Skiffle Group, "Maggie May"] But this started to happen a lot more with MacColl's encouragement. At one point in 1956, there was even a TV show hosted by Lomax and featuring a band that included Lomax, MacColl, Jim Bray, the bass player from Chris Barber's band, Shirley Collins -- a folk singer who was also Lomax's partner -- and Peggy Seeger, who was Pete Seeger's sister and who had also entered into a romantic relationship with MacColl, whose most famous song, "The First Time Ever I Saw Your Face", was written both about and for her: [Excerpt: Peggy Seeger, "The First Time Ever I Saw Your Face"] It was Seeger who instigated what became the most notable feature at the Ballads and Blues club and its successor the Singer's Club. She'd burst out laughing when she saw Long John Baldry sing "Rock Island Line", because he was attempting to sing in an American accent. As someone who had actually known Lead Belly, she found British imitations of his singing ludicrous, and soon there was a policy at the clubs that people would only sing songs that were originally sung with their normal vowel sounds. So Seeger could only sing songs from the East Coast of the US, because she didn't have the Western vowels of a Woody Guthrie, while MacColl could sing English and Scottish songs, but nothing from Wales or Ireland. As the skiffle craze died down, it splintered into several linked scenes. We've already seen how in Liverpool and London it spawned guitar groups like the Shadows and the Beatles, while in London it also led to the electric blues scene. It also led to a folk scene that was very linked to the blues scene at first, but was separate from it, and which was far more political, centred around MacColl. That scene, like the US one, combined topical songs about political events from a far-left viewpoint with performances of traditional songs, but in the case of the British one these were mostly old sea shanties and sailors' songs, and the ancient Child Ballads, rather than Appalachian country music -- though a lot of the songs have similar roots.  And unlike the blues scene, the folk scene spread all over the country. There were clubs in Manchester, in Liverpool (run by the group the Spinners), in Bradford, in Hull (run by the Waterson family) and most other major British cities. The musicians who played these venues were often inspired by MacColl and Lloyd, but the younger generation of musicians often looked askance at what they saw as MacColl's dogmatic approach, preferring to just make good music rather than submit it to what they saw as MacColl's ideological purity test, even as they admired his musicianship and largely agreed with his politics. And one of these younger musicians was a guitarist named Martin Carthy, who was playing a club called the King and Queen on Goodge Street when he saw Bob Dylan walk in. He recognised Dylan from the cover of Sing Out! magazine, and invited him to get up on stage and do a few numbers. For the next few weeks, Carthy showed Dylan round the folk scene -- Dylan went down great at the venues where Carthy normally played, and at the Roundhouse, but flopped around the venues that were dominated by MacColl, as the people there seemed to think of Dylan as a sort of cut-rate Ramblin' Jack Elliot, as Elliot had been such a big part of the skiffle and folk scenes. Carthy also taught Dylan a number of English folk songs, including "Lord Franklin": [Excerpt: Martin Carthy, "Lord Franklin"] and "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Dylan immediately incorporated the music he'd learned from Carthy into his songwriting, basing "Bob Dylan's Dream" on "Lord Franklin", and even more closely basing "GIrl From the North Country" on "Scarborough Fair": [Excerpt: Bob Dylan, "Girl From The North Country"] After his trip to London, Dylan went over to Europe to see if he could catch up with Suze, but she had already gone back to New York -- their letters to each other crossed in the post. On his return, they reunited at least for a while, and she posed with him for the photo for the cover of what was to be his second album.  Dylan had thought that album completed when he left for England, but he soon discovered that there were problems with the album -- the record label didn't want to release the comedy talking blues "Talking John Birch Society Paranoid Blues", because they thought it might upset the fascists in the John Birch Society. The same thing would later make sure that Dylan never played the Ed Sullivan Show, because when he was booked onto the show he insisted on playing that song, and so they cancelled the booking. In this case, though, it gave him an excuse to remove what he saw as the weaker songs on the album, including "Tomorrow is a Long Time", and replace them with four new songs, three of them inspired by traditional English folk songs -- "Bob Dylan's Dream",  "Girl From the North Country", and "Masters of War" which took its melody from the old folk song "Nottamun Town" popularised on the British folk circuit by an American singer, Jean Ritchie: [Excerpt: Jean Ritchie, "Nottamun Town"] These new recordings weren't produced by John Hammond, as the rest of the album was. Albert Grossman had been trying from the start to get total control over Dylan, and didn't want Hammond, who had been around before Grossman, involved in Dylan's career. Instead, a new producer named Tom Wilson was in charge. Wilson was a remarkable man, but seemed an odd fit for a left-wing folk album. He was one of the few Black producers working for a major label, though he'd started out as an indie producer. He was a Harvard economics graduate, and had been president of the Young Republicans during his time there -- he remained a conservative all his life -- but he was far from conservative in his musical tastes. When he'd left university, he'd borrowed nine hundred dollars and started his own record label, Transition, which had put out some of the best experimental jazz of the fifties, produced by Wilson, including the debut albums by Sun Ra: [Excerpt: Sun Ra, "Brainville"] and Cecil Taylor: [Excerpt: Cecil Taylor, "Bemsha Swing"] Wilson later described his first impressions of Dylan: "I didn’t even particularly like folk music. I’d been recording Sun Ra and Coltrane … I thought folk music was for the dumb guys. This guy played like the dumb guys, but then these words came out. I was flabbergasted." Wilson would soon play a big part in Dylan's career, but for now his job was just to get those last few tracks for the album recorded. In the end, the final recording session for Dylan's second album was more than a year after the first one, and it came out into a very different context from when he'd started recording it. Because while Dylan was putting the finishing touches on his second album, Peter Paul and Mary were working on their third, and they were encouraged by Grossman to record three Bob Dylan songs, since that way Grossman would make more money from them. Their version of "Blowin' in the Wind" came out as a single a few weeks after The Freewheelin' Bob Dylan came out, and sold 300,000 copies in the first week: [Excerpt: Peter, Paul, and Mary, "Blowin' in the Wind"] The record went to number two on the charts, and their followup, "Don't Think Twice it's Alright", another Dylan song, went top ten as well.  "Blowin' in the Wind" became an instant standard, and was especially picked up by Black performers, as it became a civil rights anthem. Mavis Staples of the Staple Singers said later that she was astonished that a white man could write a line like "How many roads must a man walk down before you call him a man?", saying "That's what my father experienced" -- and the Staple Singers recorded it, of course: [Excerpt: The Staple Singers, "Blowin' in the Wind"] as did Sam Cooke: [Excerpt: Sam Cooke, "Blowin' in the Wind"] And Stevie Wonder: [Excerpt: Stevie Wonder, "Blowin' in the Wind"] But the song's most important performance came from Peter, Paul and Mary, performing it on a bill with Dylan, Odetta, Joan Baez, and Mahalia Jackson in August 1963, just as the song had started to descend the charts. Because those artists were the entertainment for the March on Washington, in which more than a quarter of a million people descended on Washington both to support President Kennedy's civil rights bill and to speak out and say that it wasn't going far enough. That was one of the great moments in American political history, full of incendiary speeches like the one by John Lewis: [Excerpt: John Lewis, March on Washington speech] But the most memorable moment at that march  came when Dr. King was giving his speech. Mahalia Jackson shouted out "Tell them about the dream, Martin", and King departed from his prepared words and instead improvised based on themes he'd used in other speeches previously, coming out with some of the most famous words ever spoken: [Excerpt: Martin Luther King, "I Have a Dream"] The civil rights movement was more than one moment, however inspiring, and white people like myself have a tendency to reduce it just to Dr. King, and to reduce Dr. King just to those words -- which is one reason why I quoted from Letter From Birmingham Jail earlier, as that is a much less safe and canonised piece of writing. But it's still true to say that if there is a single most important moment in the history of the post-war struggle for Black rights, it was that moment, and because of "Blowin' in the Wind", both Dylan and Peter, Paul and Mary were minor parts of that event. After 1963, Peter, Paul and Mary quickly became passe with the British Invasion, only having two more top ten hits, one with a novelty song in 1967 and one with "Leaving on a Jet Plane" in 1969. They split up in 1970, and around that time Yarrow was arrested and convicted for a sexual offence involving a fourteen-year-old girl, though he was later pardoned by President Carter. The group reformed in 1978 and toured the nostalgia circuit until Mary's death in 2009. The other two still occasionally perform together, as Peter and Noel Paul. Bob Dylan, of course, went on to bigger things after "Blowin' in the Wind" suddenly made him into the voice of a generation -- a position he didn't ask for and didn't seem to want. We'll be hearing much more from him. And we'll also be hearing more about the struggle for Black civil rights, as that's a story, much like Dylan's, that continues to this day.

"Ovunque lui sia, sono consapevole che mi ama e sa che l'ho sempre amato nonostante le mille litigate, ma avrei preferito dirglielo una volta in più": con queste parole Erica, 21 anni, conclude il suo intenso racconto della malattia del suo papà, fino alla sua scomparsa che l'ha colta impreparata. Nella secondo parte c'è l'incredibile storia di Jane, una donna americana che affitta il suo utero ad una coppia cinese che non può avere figli, ma alla prima ecografia c'è una prima sorpresa, e al momento del parto una seconda ancora più grande. In chiusura, prosegue la storia seriale di Antonio Cocco, attraverso le lettere custodite nell'Archivio diaristico di Pieve Santo Stefano, e le testimonianze della sua famiglia raccolte da Mauro Pescio. Playlist Medicine – DaughterMy Father's Eyes - Eric ClaptonIn Cold Blood - Alt-JDon't Think Twice It's Alright - Bob DylanMother - John LennonThere must Be More Than Blood - Cat Seat Headrest

Ruston Kelly "Radio Cloud"Sir Woman "Highroad"John Prine "The Late John Garfield Blues"Chuck Berry "Mean Old World"Drive-By Truckers "Sea Island Lonely"Wilco "Passenger Side"Sister Rosetta Tharpe "All Alone"Yola "Hold On"Thelonious Monk "Blue Monk (2005 Remastered Version)"D'Angelo and The Vanguard "The Charade"John Lee Hooker "Shake It Baby"Bedouine/Hurrary For The Riff Raff/Waxahatchee "Thirteen"Tom Petty & the Heartbreakers "Nightwatchman"John Prine "Pretty Good"Steve Earle & The Dukes "L.A. Freeway"Becky Warren "Good Luck"David Ramirez "My Love is a Hurricane"The Hold Steady "Stuck Between Stations"Jon Snodgrass "Don't Break Her Heart"Wilson Pickett "Mustang Sally"Thelonious Monk "Bright Mississippi"Bette Smith "Everybody Needs Love"Big Maybelle "My Big Mistake"Fiona Apple "Daredevil"The Low Anthem "Hey, All You Hippies!"Arlo McKinley "Die Midwestern"R.E.M. "I Believe"Lydia Loveless "Wringer"John Prine "Wedding Day in Funeralville"The Highwomen "Redesigning Women"Will Johnson "Cornelius"Old 97's "This House Got Ghosts"Tom Petty & The Heartbreakers "Won't Last Long"Doc & Merle Watson "Don't Think Twice It's Alright"Thelonious Monk "Straight, No Chaser (Album Version)"The War and Treaty "Five More Minutes"Buddy Guy "I Suffer With The Blues"Matt Woods "Take It Slow"Vic Chesnutt "Sleeping Man"Justin Wells "It'll All Work Out"Todd Snider "Is This Thing Working?"

In this third series, Chris Neill continues his comedic exploration of affairs of the heart, the unexpected humiliations of ageing, and what bloody good luck it is that he has met his boyfriend, Rory. In earlier series, episodes revolved around the terrible blind date Chris was set up on, his fantasy French boyfriend inspired by a school textbook, making a fish pie for his dying neighbour, and his failure to write a novel. As ever, Chris remains entirely willing to expose himself to a late-night, possibly bed-bound, audience and this third series of Woof finds him recounting more autobiographical stories of his life in love, lust and mediocrity. In the first episode, we examine the trials of ageing. After a telephone conversation with his doctor, taken while admiring the sheer capacity of the Haribo aisle in a Hamburg supermarket, we join Chris walking away from diabetes. Written by Chris Neill Starring: Chris Neill, Isy Suttie and Martin Hyder Producer: Steve Doherty A Giddy Goat production for BBC Radio 4 Music used: Dance Away - The Bryan Ferry Orchestra This Guy's In Love With You - Sachal Studios Orchestra Don't Think Twice It's Alright - Chris Thile & Brad Mehldau Introduction And Allegro For Harp, Flute, Clarinet And String Quartet (Ravel) - (Performance uncredited) Limbo Jazz - Duke Ellington and Coleman Hawkins Gotta Get Up - Harry Nilsson Our Day Will Come - Amy Winehouse

Umsjón: Matthías Már Magnússon og Lovísa Rut Kristjánsdóttir Góð stemning í Popplandi í dag, upplýsingafundur almannavarna í beinni svo heyrðum við í stórstjörnunni Daða Frey, nýtt efni frá Travis, Inspector Spacetime, Benee, Brek og fleirum og plata vikunnar á sínum stað, platan Kryddlögur sem mosfellska djasssveitin Piparkorn var að senda frá sér. Bubbi & Hjálmar - Þöggun Manu Chao - Me Gustas Tu Benee - Supalonely Kiriyama Family - Every Time You Go Valdimar & örn - Lenydarmál (Havarí 17. júní) Valdimar & Örn - Afgan (Havarí 17. júní) Jón Jónsson - Dýrka mest Bob Dylan - Don't Think Twice It's All Right Piparkorn - Hvað er það Red Barnett - Astronaut Paul McCartney & Wings - Silly Love Songs Ásgeir Trausti - Minning Travis - A Ghost Brek - Fjaran Ed Sheeran & Justin Bieber - I Don't Care Góss - Sólasamba Magnús & Jóhann - Vorið Er Komið Nýdönsk - Örlagagarn FM Belfast - Underwear Inspector Spacetime - Hvað Sem Er Hipsumhaps - LSMLÍ Helgi Björns - Miði Aðra Leið Brittany Howard - Stay High Bubbi - Agnes og Friðrik Elíza Newman - Vaknaðu Daði Freyr - Where We Wanna Be Badly Drawn Boy - Disillusion Piparkorn - Sveitt Arlo Parks - Black Dog Aldís Fjóla - Wake Up Christina Aguilera - Beautiful Hjaltalín - Year Of The Rose Svavar Knútur - Brot

Featured Songs: First Song: 00:38 - Rise Sun - 09-21-19 - Borderland Music Festival, East Aurora, NY Second Song: 05:08 - Cold Beverages - 10-31-19 - Theatre of Living Arts, Philadelphia, PA  Third Song: 11:32 - Gentle On My Mind - 12-13-19 - Strings and Sol Festival, Puerto Morelos, Mexico Fourth Song: 15:49 - Don’t Think Twice It’s Alright - 03-07-20 - Telluride, CO Fifth Song: 19:57 - Ramble on Rose - 03-11-20 - Belly Up, Aspen, CO See omnystudio.com/listener for privacy information.

Bonus content! Taped live at Soundworc Studios in Burbank, California, Hamish Anderson performs a short acoustic set for his appearance on The Nostalgia Mixtape. Set List: - "Don't Think Twice It's Alright" (Bob Dylan cover) - "Winter" (original) More episodes at thenostalgiamixtape.com

The TV show’s title and setting refers to My Khe beach in the city of Đà Nẵng, Vietnam. The actual beach was nicknamed "China Beach" in English by American and Australian soldiers during the Vietnam War. The series looks at the Vietnam War from unique perspectives: those of the women, both military personnel and civilians, who were present during the conflict. The series' cast portrayed US Army doctors and nurses, officers, soldiers, Red Cross volunteers, and civilian personnel (American, French, and Vietnamese). In reality, some 10,000 women served in country. Three Red Cross women, eight Military women and an unknown number of American civilian women died in Vietnam. Many more were wounded. Also, during the Vietnam War, 402 American medics were killed in the service of their country. The show was partly inspired by the book, “Home Before Morning” (The Story of an Army Nurse in Vietnam) [1983] by Lynda Van Devanter (1947-2002). The TV show consisted of a 2-hour Pilot show followed by 61 episodes over four seasons (1988-1991). The focal point was the 510th Evacuation Hospital, referred to as “The Five and Dime” E.V.A.C. hospital. The club at the Five and Dime was called The Jet Set. Diane Keaton and Gary Sinese, each directed episodes. The show’s main theme song was "Reflections" by Diana Ross & the Supremes. Two episodes [Season 3, Episode 19 and Season 3 Episode 22] used "We Gotta Get out of This Place" by Katrina & The Waves with Eric Burdon either as the theme or within the plot. The show’s dedication reads: “To the Vietnam Veterans, especially the women who served, with thanks and respect. China Beach, the TV series, portrayed the cost of the Vietnam War. It helped us heal while remembering the sacrifices of the young women and men who fought there. You will never be forgotten.” Dana Delany (McMurphy) was involved with the Vietnam Woman’s Memorial Project, which built the monument in Washington D.C. next to the Vietnam Veterans Memorial. It was dedicated in 1993. Delany has become something of a heroine to the nurses who served in Vietnam. These are the songs we heard during Season 1. You’ll hear: Reflections (China Beach version) – The Supremes 1) (Love Is Like A) Heatwave – Martha & The Vandellas 2) How Sweet It Is – Marvin Gaye 3) Cloud Nine – The Temptations 4) Dedicated To The One I Love – The Mamas & The Papas 5) Standing In the Shadows of Love – The Four Tops 6) Soldier Boy – The Shirelles (In the episode it was actually sung by Laurette for the 1940s Night) 7) Going to A Go-Go – The Miracles 8) (You Make Me Feel Like a) Natural Woman – Aretha Franklin 9) Big Girls Don’t Cry – The Four Seasons 10) Cool Jerk – The Capitals 11) Don’t Think Twice It’s Alright – Joan Baez 12) Yes, I’m Ready – Barbara Mason 13) Stay – Maurice Williams & The Zodiacs 14) Back in My Arms Again – The Supremes 15) Reach Out I’ll Be There – The Four Tops 16) Sugar Town – Nancy Sinatra 17) I Heard It Through the Grapevine – Gladys Night & The Pips 18) It Takes Two - Marvin Gaye & Kim Weston 19) I Was Made To Love Her – Stevie Wonder 20) I’m Sorry – Brenda Lee 21) The Tracks of My Tears – Smokey Robinson & The Miracles 22) Boom Boom – The Animals 23) Mama Said – The Shirelles (the girls in the bunker) 24) Pipeline – The Chantays 25) I Can’t Help Myself – The Four Tops 26) Windy – The Association 27) Sympathy For The Devil – The Rolling Stones 28) You Can’t Hurry Love – The Supremes 29) The Letter – The Boxtops 30) These Boots Are Made For Walkin’ – Nancy Sinatra 31) I Second That Emotion – Smokey Robinson & The Miracles 32) Monday, Monday – The Mamas & The Papas 33) Nowhere To Run – Martha & The Vandellas 34) Stand By Me – Ben E. King 35) Ain’t Nothing Like the Real Thing – Marvin Gaye & Tammy Terrell 36) Surfer Joe – The Surfaris 37) Bernadette – The Four Tops 38) The Girl From North Country – Rosanne Cash 39) What the World Needs Now is Love – Dionne Warwick 40) With A Little Help From My Friends – The Beatles (Harmonica version and others) 41) I’ll Be Seeing You – Jo Stafford (In Episode 2, this was Maj. Lila Garreau’s nostalgia song for “Don” (the Spitfire pilot from the RAF) China Beach Theme (Guitar & Harmonica) ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ****** or by email at dannymemorylane@gmail.com

This week we’re bringing you Definitely Dylan’s belated International Women’s Day episode (after all, every day is Women’s Day)!On this occasion we’re dedicating the hour to the many women that have sung Bob Dylan’s songs over the years by playing a small selection of songs from the Spotify playlist I’ve put together! Join us in celebrating these artists and the contributions they have made to our understanding of Dylan’s work, by reframing the songs and often showing us a different and new dimension to the song’s meaning.If you’re interested in checking out the IWD episodes from previous years, here’s the “Women & Dylan” episode from 2018, where I make a case for importance of female perspectives in the discussion of Dylan’s songs, especially in their treatment of women. And here’s the one from last year, with requests from female Dylan fans.If you’d like to check out the episode in which I analyse the song She Belongs To Me, you can listen to that here.One version that we didn’t have time for and that I couldn’t include in the playlist because it’s not on Spotify, is Ren Harvieu’s gorgeous Just Like A Woman, which she recorded for Definitely Dylan the other week. If you haven’t heard that yet, I urge you to check it out! Below you can find the Spotify playlist that I’ve put together of some fantastic Dylan covers sung by women. I hope you’ll enjoy it and maybe discover some new favourites. I’d love to know your thoughts!Let me know what your favourite version of a Dylan song interpreted by a female artist is by leaving a comment below - I’m always up for discovering more!Correction: the Jackie DeShannon version of Don’t Think Twice (It’s All Right) that we played in this episode id not the one that appeared on her 1965 album, but rather one that she recorded in 1973 (this version remained unrelased until 2015, when it appeared on the compilation All the Love: The Lost Atlantic Recordings). The actual 1965 version has a much more mid-60s folk pop accompaniment, and you can listen to it here.Playlist:Like A Rolling Stone - Maxine WeldonClothes Line Saga - Suzzy & Maggie RocheAin’t Talkin’ - Bettye LaVetteCovenant Woman - Hannah CohenDon’t Think Twice (It’s All Right) - Jackie DeShannonShe Belongs To Me - Ane BrunGotta Serve Somebody Etta James

In this episode of Life Is Like A Box Of Records, Halina Rifai speaks to poet, performer and educator Leyla Josephine her latest show Daddy Drag and she selects music. They discuss her influences and the inspirations and the story behind her latest performance. She also picks a selection of songs that have soundtracked her life so far. Tracklisting: Shania Twain: Man! I Feel Like A Woman!Jamie T: If You Got The MoneyBon Iver: Blood BankCurtis Mayfield: Move On UpAmy Winehouse: You Sent Me Flying/CherryBob Dylan: Don't Think Twice It's Alright Rura: The Lowgroundwww.podcart.co See acast.com/privacy for privacy and opt-out information.

This week on Definitely Dylan Live we’re talking about the many versions of Bob Dylan that have appeared on the big screen! Through the decades, filmmakers have tried various approaches to try and capture Bob Dylan, ranging from documentaries, fictionalised stories, and everything in between.Here’s the video clip of Can’t Leave Her Behind from Eat The Document that we mentioned, and you can check out the video of I’ll Remember You from Masked & Anonymous here.Correction: the live version of Don’t Think Twice (It’s All Right) is from the Royal Albert Hall, but the one in Manchester, not in London! Playlist:Don't Think Twice (It's All Right) - Live at the Royal Albert Hall, Manchester, 10 May, 1965I Can't Leave Her Behind (Mono, Live [2])Señor (Tales Of Yankee Power) - Willie Nelson & CalexicoI'll Remember You (Masked & Anonymous)She Belongs to Me (S.I.R. Studio Rehearsals)

This is the mixtape project week 2. Mixtapes #9 to #15 1.6.20 #9 Sia “The Greatest” Major Lazer “Light It Up” Swedish House Mafia “Save the World Daft Punk “Harder Better Faster Stronger” Lizzo “Good as Hell” Portugal. The Man “Feel It Still” Gorillaz “Feel Good Inc.” Justin Timberlake “Can’t Stop the Feeling” 1.7.20 #10 Invention “Sprxng” fuzhou & B0nds “Ending Love” BADBADNOTGOOD & Ghostface Killah “Street Knowledge” Zeus the Elevated “What Do You Mean” ASO “Ur Ok” B-Side & Philanthrope “Stratussphere” Trog’low “Sunflower Dance” Toonorth “Special Thing” Ian Ewing “Two Avocados and a Microphone” furino “wish and wait” aimless “Sailway” Delayed & loftii “Lake” 1.8.20 #11 RAC “Hollywood” Tycho “Weather” Alex Lustig “Stardust” Nightmares On Wax “Capumcap” Four Ten “Teenage Birdsong” Sebastian Davidson “Freefaillin’” Two Lanes “Just Now” Glass Animals & Denzel Curry “Tokyo Drifting” 1.9.20 #12 ODESZA “White Lies” Miike Snow “Genghis Khan” Big Wild “Aftergold” Empire of the Sun “Walking on a Dream” Jonas Blue “I See Love” Kasbo “Kaleidoscope” Kiiara “Gold” 1.10.20 #13 Krylic. “Notorious Chinsaku “All This Time” Bitte Please “The Lamp is High” Tom Misch “The Journey” Tesk “DatSwing” The Deli “Jazz Catz” Knxwledge “Kanaloap” Koolade “Walk the Dog” Laster “Gorilla” Bonobo “Antenna” 1.11.20 #14 Klingande “Punga” Satin Jackets “Night Keys” Sam Feldt & Alex Schulz “Be My Lover” Kartell “5 A.M.” KAYTRANADA “Lite Spots” Anderson .Paak “Celebrate” SBTRKT “Wildfire” 1.12.20 #15 David Bowie “Starman” Led Zeppelin “Achilles Last Stand” The Kinks “Destroyer” Talking Heads “Wild Wild Life” Jefferson Airplane “White Rabbit” Faces “Three Button Hand Me Down” The Rolling Stones “Heart of Stone” ELO “Sweet Talkin’ Women” Donovan “Hurdy Gurdy Man” Simon & Garfunkel “Bookends” George Harrison “What Is Life” The Zombies “This Will Be Our Year” Bob Dylan “Shelter from the Storm” The Beatles “With A Little Help From My Friends” Peter, Paul, & Mary “Don’t Think Twice It’s Alright” Chuck Berry “Promised Land” Aerosmith “Last Child” Dire Straits “Money for Nothing” The Alan Parson Project “I Wouldn’t Want to Be Like You” Boston “Don’t Look Back” Rush “Fly By Night”

Le blues est une musique d'interprètes plus que de compositeurs. Alors quand les artistes tombent sur un répertoire aussi riche que celui de Bob Dylan, ça donne des versions étonnantes telles que celles que nous vous proposons aujourd'hui. Prix Nobel de la playlist cette semaine dans Bon Temps Rouler.    Playlist Eric Clapton - Don't Think Twice It's All Right (Live at Madison Square Garden, New York, Octobre 1992)Lizz Wright - Every Grain Of SandThe Staple Singers - Masters Of WarMavis Staples - Gotta Serve SomebodyHoward Tate - Girl Or The North CountryCassandra Wilson - Lay Lady LayIsaac Hayes - Lay Lady LayTaj Mahal - It Takes A Lot To Laugh, It Takes A Train To CryBettye LaVette - Everything Is BrokenAdele - Make You Feel My LoveThe Neville Brothers - The Ballad Of Hollis BrownHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Saying goodbye, doubt, saying good bye to doubt. Waylon Jennings has lots to sing about on the matter: Don’t Think Twice It’s Alright! Introduction • Step in Step Out • What is our song? • Is saying goodbye hard for you? • Promesa

If Not For You - George Harrison Stuck Inside Of Mobile With The Memphis Blues Again - Cat Power Mighty Quinn - Manfred Mann It’s All Over Now Baby Blue - Them It Ain’t Me Babe - Johnny Cash Just Like A Woman - Richie Havens A Hard Rain’s A Gonna Fall - Staple Singers Just Like Tom Thumb’s Blues (live) - Neil Young One More Cup Of Coffee - White Stripes Wicked Messenger - Black Keys Absolutely Sweet Marie - Jason & The Scorchers Lord Protect My Child - Susan Tedeschi Don’t Think Twice It’s Alright - Peter Paul & Mary You’re Gonna Make Me Lonesome When You’re Gone - Shawn Colvin I’ll Be You Baby Tonight - Norah Jones Farewell Angelina - Joan Baez Blowin’ In The Wind (live) - Sam Cooke Maggie’s Farm - Solomon Burke I Shall Be Released - Nina Simone Knocking On Heaven’s Door - Warren Zevon Going Going Gone - Gregg Allman

Twisted Sister founder and guitarist Jay Jay French joins me in episode 23 to discuss Sister, his slew of new and intriguing projects, and of course, his playlist. Jay Jay and I talk about my first ever concert (Twisted Sister opening for Iron Maiden) and his frigid trek across Canada in December 1984, how his guitars (like his wife's shoes) seem to copulate overnight, how Johnny Cash approached him for his autograph in Toronto, why 1967 was such an important year in music, and what it was like to audition for KISS in 1972 before Ace Frehley joined the band. All this and a chat about his unusual obsession with The Beatles too!   French's playlist: Chuck Berry - School Days The Beatles - I Want To Hold Your Hand Bob Dylan - Don't Think Twice It's Alright Paul Butterfield Blues Band - Born in Chicago Albert King - Crosscut Saw Pink Floyd - See Emily Play David Bowie - Five Years             

欣闻民谣歌手Bob Dylan 获得了2016年诺贝尔文学奖，飞行员里两个喜欢老爷子的人坐不住了，录出了这一期致敬节目。关于Bob Dylan 的七七八八——歌手的特质、生涯风格的转变、文学与诗歌造诣、音乐风格与八卦，以及诺贝尔奖的外延——永远在陪跑的村上春树。ps. 本期孟获的录音环境不太理想，音质欠佳，在此表示抱歉。ps2. 请各位听众关注「声波飞行员」公众号，获取飞行员最新相关讯息。BGM List:Bob Dylan - Don't Think Twice It's All RightBob Dylan - Subterranean Homesick BluesBlackmore's Night - The Times They Are A Changin'Bob Dylan - Tangled Up in BlueBob Dylan - Queen Jane ApproximatelyPeter, Paul & Mary - Blowin' in the WindThe Beatles - Norwegian WoodThe Sachal Ensemble - Shelter from the Storm

欣闻民谣歌手Bob Dylan 获得了2016年诺贝尔文学奖，飞行员里两个喜欢老爷子的人坐不住了，录出了这一期致敬节目。关于Bob Dylan 的七七八八——歌手的特质、生涯风格的转变、文学与诗歌造诣、音乐风格与八卦，以及诺贝尔奖的外延——永远在陪跑的村上春树。ps. 本期孟获的录音环境不太理想，音质欠佳，在此表示抱歉。ps2. 请各位听众关注「声波飞行员」公众号，获取飞行员最新相关讯息。BGM List:Bob Dylan - Don't Think Twice It's All RightBob Dylan - Subterranean Homesick BluesBlackmore's Night - The Times They Are A Changin'Bob Dylan - Tangled Up in BlueBob Dylan - Queen Jane ApproximatelyPeter, Paul & Mary - Blowin' in the WindThe Beatles - Norwegian WoodThe Sachal Ensemble - Shelter from the Storm

01-Whiskey Shivers - There Is A Time feat Kelsey Wilson 02-Alan Jackson - Ain't Got Trouble Now 03-Patty Loveless and Ralph Stanley, -Pretty Polly 04-Dolly Parton - Don't Think Twice 05-Don't Think Twice It's All Right - Bob Dylan 06-Kiefer Sutherland - Not Enough Whiskey 07-Heart-Charlie Faye & The Fayettes 08-Martina McBride - To Know Him Is to Love Him 09-Amber Digby - There Must Be Another Way To Live 10-Georgette Jones-You Don't Hear 11-Kitty Wells - How Far Is Heaven 12-Michael Martin Murphey -Shake It Off 13-Filipo Marco-Amy Benton-Top of that list 15-Billy Yates & Liz Talley - It's Time to Cross That Bridge 16-Jerry Lee Lewis Sunday Morning Coming Down

여러분들은 누군가가 여러분의 험담을 한 것 들어보신 적 있나요? 누군가 내 말을 한다면 내용에 상관없이 마음속에 긴장감이 돌죠. 말잔치에 오르면 마치 욕설을 듣는 것처럼 모멸감을 느끼고 감정이 뒤틀리기도 해요. 때로는 화도 나기도 합니다. 하지만 사람이 사는 곳에는 무수한 말이 도는 것은 어쩔 수 없어요. 그저 그 말에 내가 휘둘리지 않으면 그뿐. 쉽진 않겠지만요. 오늘부터 굳이 듣지 않아도 될 말은 걸러내보는 연습해보는 것 어떠세요. 우리의 삶이 그들의 말에 의해 결정되는 건 아니잖아요. 6월 28일 여기는 여러분과 함께 꿈꾸는 문화다락방의 강민선입니다. -문화다락방, 오프닝멘트- 6월 28일 문화다락방 - 강영음공 시간입니다. 선곡표 
보이후드 boyhood - hero 하이힐 high heel - Burn so slow 아이 앰 샘 I am sam - lucy in the sky with diamonds 에비타 evita - don't cry for me argentina 인간중독 - the rose 시스터 액트 sister act - oh happy day 인생은 아름다워 la vita e bella -la vita e bella 반지의 제왕 lord of the rings - may it be 헬프 - Don't Think Twice It's Alright

PODCAST: 03 Apr 2016  01 Generation Rent - Megson - Good Times Will Come Again 02 Way Over Yonder - Eamon Rodgers - Too Many Tunes, Too Little Time 03 Bayou Belle - Eric Bibb - Deeper In The Well 04 Belfast Hornpipe - Quilty - A Drop Of Pure 05 There But For Fortune - Phil Ochs - Songs Of Freedom - This Land Is Your Land 06 The Knight And The Shepherd's Daughter - Halali - Halali 07 Plains Of Kildare - Andy Irvine And Paul Brady, With Donal Lunny And Kevin Burke - Andy Irvine & Paul Brady 08 Woody Knows Nothing - Alice Jones - Poor Strange Girl 09 Jackboot Democrats - Des De Moor - And They All Sang Rosselsongs - Songs By Leon Rosselson 10 A Heart Needs A Home - by Maartin Allcock and Lisa Starnini - Unreleased 11 Arthur McBride - Andy Irvine And Paul Brady, With Donal Lunny and Kevin Burke - Andy Irvine & Paul Brady 12 Don't Think Twice It's Alright - Sam Brothers - Sam Brothers 13 Henry - Fay Hield & The Hurricane Party - Orfeo 14 Valve Oil - Paul Tasker - Cold Weather Music 15 The Maid Of Whitby - Cara - In Between Times 16 Come Kiss Me Love - The Ian Campbell Folk Group - Across The Hills 17 Cigarettes, Whiskey And Wild Women - Sons Of The Pioneers - Western Valley Songs

PODCAST: 03 Jan 2016  01 Maggie's Farm –  Biber Herrmann – Grounded 02 The Times They Are Changin' – Eric Bibb – Deeper In The Well 03 Corrina, Corrina – Cara Dillon And The Scoville Units  – The Freewheelin' Bob Dylan : A Folk Tribute 04 The Lonesome Death Of Hattie Carroll – Martin Carthy and Dave Swarbrick – Signs Of Life 05 Spanish Mary – (Deluxe Edition) Rhiannon Giddens– Lost On The River -The New Basement Tapes 06 Boots Of Spanish Leather – Martin Simpson – Bootleg USA 07 The Ballad Of Hollis Brown – Old Blind Dogs – Legacy 08 Man Gave Names To All The Animals – Tim O'Brien – Sing Along With Putumayo 09 Farewell, Angelina – Danú – When All Is Said And Done 10 Girl From The North Country – Dave Burland – Younger Than That Now: Songs By Bob Dylan 11 Mr. Tambourine Man – Judy Collins – Send In The Clowns – The Best Of 12 With God On Our Side – Joan Baez – Wildwood Flower 13 Masters Of War – The Flying Pickets – Lost Boys 14 Blowin' In The Wind - Seth Lakeman - The Freewheelin' Bob Dylan : A Folk Tribute 15 Don’t Think Twice It’s Alright – Ralph Mctell – Don’t Think Twice It’s Alright 16 Just Like Tom Thumb Blues – Mary Asquith – Closing Time 17 To Ramona – Sinead Lohan – Storytellers 18 Lay Down Your Weary Tune – Marley's Ghost – Haunting Melodies

PODCAST: 29 Jun 2014 01 - Long Gone Miles - Mark Harrison - The World Outside 02 - Ballad Of Accounting - Karen Casey - Songlines 03 - Royal Comrade - Gregg Russell and Kieran Algar - The Call 04 - Shove The Pig’s Foot A Little Further In The Fire/Fine Times At Our House - We Banjo 3 - Gather The Good 05 - The Recruited Collier - Dick Gaughan - Gaughan 06 - The Golden Glove  - Matt and Shannon Heaton - Lovers Well 07 - Cowd Stringy Pie - Dave Hillary and Harry Boardman - Transpennine 08 - Barbara Elin - Fernhill - Amser 09 - Song For Ireland - Dick Gaughan - Handful Of Earth 10 - Harbour Voice - The Young ‘Uns - When Our Grandfathers Said No 11 - The Banks Of Lough Gowna/The Pipe On The Hob - Fásta - Rewind 12 - Waist Deep In The Big Muddy - Dick Gaughan - Sail On 13 - Roll On That Day - Rod Clements - Rendezvous Cafe 14 - Don’t Think Twice It’s Alright - Lissa Schneckenburger 15 - I Want To See The Bright Lights Tonight - Bellowhead - Revival

Archive: http://groovement.co.uk DJ A-UP’s first words were “Boom, bap”, and he’s here to restore your faith in hip-hop. Now resident at Groovement-associated live hip hop night IN THE LOOP after serving his years in the now sadly-departed Manchester hip hop institution C’MON FEET, he only plays that good shit. Check DJ A-UP’s mixtape series on Mixcloud here: DJ A-UP 1. Billy Paul – Don’t Think Twice It’s Allright (1968) 2. Fashawn – Samsonite Man (2009) 3. Star Slinger – Mornin’ (2010) 4. Von Pea – Good Life (2010) 5. Shad – Rose Garden (2010) 6. Illecism – Plus Sign Vibe (2010) 7. J Dante X Man Mantis – Hi Love (2009) 8. Revolutionary Rhythm – Los Angeles Times (2010) 9. Bibio – Lovers’ Carvings (2009) 10. Blue Scholars – Big Bank Hank (2011) 11. The Gerald Wilson Orchestra – California Soul (1968) 12. A.D.O.R. – Let It All Hang Out (Pete Rock Remix) (1992) 13. Krispy 3 – On Tempo (’94 Lick) (1994) 14. Groove Theory – Baby Luv (1995) 15. Neneh Cherry feat. The Notoroious B.I.G. – Buddy X (Falcon & Fabian Remix) (1993) 16. Blu – MyBoyBlu (2008) 17. Exile feat. J. Mitchell – Your Summer Song (2009) 18. Break Next Beat – Autum Skies (2010) 19. MeLo-X feat. Jesse Boykins – She is Forever (2011) 20. Plato – Make ‘em Clap (2011) 21. Pulled Over By The Cops feat. Nate Santos – Authority (2011) 22. Jay Lee – I’m Dreaming (2010) 23. DJ King Most – Daylight (2008) 24. Legion & Lemon feat. Eric Clapton – Inside of Me (2010) 25. Danny Drive Thru – Go Slow (2007) 26. The Stuyvesants – Greene Ave. Anthem (2010) 27. TiRon – For Your Smile (2010) 28. Phil Ade – Break Me Off (2011) 29. J.J. Brown – World’s A Stage (2009) 30. BrandUn DeShay – Wish Me Luck feat. Dom Kennedy & TiRon (2010) 31. Omas – Ninethousand90 (2010) 32. A Tribe Called Quest – We Can Get Down (1993) 33. Damu The Fudgemunk – Brooklyn Flower (2010)