Podcast appearances and mentions of tommy johnson

In this kickoff episode for Black Music Month, Jack Dappa Blues Radio explores the Blues as Black folklore, not just as music, but as cultural testimony, survival strategy, and sonic memory. Through the voices of Tommy Johnson, Mance Lipscomb, Rube Lacy, Charley Patton, and Blind Lemon Jefferson, we treat Blues lyrics as living archives, capturing addiction, emotional depth, environmental trauma, and coded cultural critique.We examine the Blues as testimony, as ecological witness, and as class commentary, diving into how metaphor, moan, and memory serve as vital tools for storytelling and resistance.This episode honors the spirit of Black Music Month by placing tradition bearers front and center, revealing how the Blues doesn't just recall history—it makes it.

Join us on The Midlife Revolution as we sit down with Tommy Johnson, a writer and content creator who shares his transformative journey from a Mormon missionary to a mental health advocate. In this intimate conversation, Tommy opens up about the pressures of growing up within the LDS Church, his struggles with identity, and the unexpected lessons learned from his mission. Discover how he navigates the complexities of men's mental health, the stigma of addiction, and the power of authenticity in overcoming societal norms. This episode is a must-listen for anyone looking to understand the intersection of faith, mental health, and personal growth. Tune in for a heartfelt discussion that promises to inspire and provoke thought on the importance of self-compassion and breaking free from cultural expectations.

SAN ONOFRE-Sakina Abdou interviú Aló, Sakina, comment ça va tout, ma cherie? Angloentrevistas Traducidas, Vol. 2 https://libritosjenkins.bigcartel.com/product/angloentrevistas-traducidas-de-san-onofre-vol-2 SAN ONOFRE nos destacamos hasta la encrucijada. No, qué va, déjate de Robert Johnson ni Tommy Johnson; nos referimos a la Sakina. Sittin´ on a fence entre Nigeria, la Francia, Bélgica, Alemania, Londres y todo lo demás. Y con base de operaciones cerca de Lille. Es Sakina Abdou intrépida saxwoman que se desenvuelve con igual soltura en la vanguardia, la improvisación, el Free Jazz, los discos de solos de saxofón, el ruidaco y todo lo que se cruce en su impetuoso camino. ¡Bah, no son más que nombres! Indeed, dear Arrington! La musique avec panache, eso sí lo suscribimos en la SAN ONOFRE. Estamos

"Cannabis, COVID, and Concerts: A Grateful Dead Fan's Journey"Larry Mishkin is back from a break spent in South Carolina with his granddaughter he shares his experience of contracting a mild case of COVID, attributing his quick recovery to his cannabis use. He references studies suggesting that certain strains of sativa marijuana may mitigate COVID symptoms.The episode features a detailed discussion of a special Grateful Dead concert from July 15, 1989, at Deer Creek Music Theater in Noblesville, Indiana. Larry reminisces about the venue, the band's setlist, and the memorable experience shared with friends. He highlights key performances from the show, including "Bertha," "Greatest Story Ever Told," "Candyman," "Walkin' Blues," and others.Larry also covers recent music news, mentioning Melissa Etheridge's performance in Colorado and her upcoming summer tour. He shares updates on the String Cheese Incident's New Orleans-themed show at Red Rocks and Phish's recent appearance on The Tonight Show with Jimmy Fallon, where they performed "Evolve" from their new album. Grateful DeadDeer Creek Music Theater CenterNoblesville, INGrateful Dead Live at Deer Creek Music Center on 1989-07-15 : Free Borrow & Streaming : Internet Archive With:  Judy, Andy K., Lary V., AWell and others First Dead show ever at Deer Creek which had just opened that year.  Became a regular stop on the Dead's summer tour thereafter and one of the favorite places for the Deadheads given its relatively small size as compared to the stadium venues that soon became the norm for summer tours.  Ironically, two days after this one-off Dead played their final 3 shows at Alpine Valley, switched to Tinley Park in 1990 and then starting in 1991 Chicago summer  tour shows were confined to Soldier Field with 60,000 attendees. INTRO:                                 Bertha                                                Track #2                                                1:20 – 3:00 Garcia/Hunter – first appeared on Grateful Dead (live) aka Skull and Roses or Skullfuck (1971)Played: 401First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 27, 1995 at the Palace of Auburn Hills, Detroit, MI  SHOW No. 1:                    Walkin Blues                                                Track #5                                                1:38 – 3:20 "Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions. "Walkin' Blues" was not a commercial success when it was issued as a "race record" marketed to black listeners.  However, the song was received with great enthusiasm by a small group of white jazz record collectors and critics. Producer John Hammond chose "Walkin' Blues" and "Preachin' Blues" as the records to be played at his 1938 From Spirituals to Swing concert, when Johnson himself could not appear (Johnson had died a few months earlier).[15] The 1961 Johnson compilation album King of the Delta Blues Singers was marketed to white enthusiasts. According to most sources, John Hammond was involved in the production and the selection of tracks. The album included the two House-style songs and a song with House-style guitar figures ("Cross Road Blues" and excluded songs in the commercial style of the late 1930s. Notable exclusions were Johnson's one commercial hit, "Terraplane Blues", and two songs which he passed on to the mainstream of blues recording, "Sweet Home Chicago" and "Dust My Broom". Dead first played it in 1966, once in 1982 and 4 times in 1985.  Then, beginning in 1987 it became a standard part of Dead song lists, peaking in 1988 when it was played 23 times.  Became one of Bobby's early first set blues numbers with Minglewood Blues, CC Rider and Little Red Rooster. Played: 141First:  October 7, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA   SHOW No. 2:                    Crazy Fingers                                                Track #12                                                4:30 – 6:12 Pretty standard second set song, usually pre-drums.  Fist played in 1975, a few times in 1976 and then dropped until 1982 at Ventura County Fairgrounds (day after my first show).  Played 7 times that year, dropped until 1985 (10 times), then dropped until 1987 and then played regularly until the end.  Great tune, Jerry often forgot the lyrics and this version is great because Bobby saves him on the lyrics when Jerry starts to go astray.  Good fun considering how many times Bobby would forget the words to his songs. But one of those things you remember if you see it happen Garcia/Hunter, released on Blues For Allah (Sept. 1, 1975)Played: 145 timesFirst:  June 17, 1975 at Winterland Arena, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis)  SHOW No. 3:                    Truckin                                                Track #13                                                7:00 – end Hunter/Garcia/Weir/Lesh/Kreutzman (Pigpen went inside to take a nap) by the side of a pool.Released on American Beauty (November, 1970) final tune on the albumPlayed: 532 timesFirst:  August 17, 1970 at Fillmore West, San Francisco, CA, USALast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO                                                  INTO                                                Smokestack Lightning                                                Track #14                                                0:00 – 0:36  "Smokestack Lightning" (also "Smoke Stack Lightning" or "Smokestack Lightnin'") is a blues song recorded by Howlin' Wolf (Chester Burnett) in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it.  Recorded at Chess Records in Chicago and released in March, 1956 with You Can't Be Beat on the B side. Wolf had performed "Smokestack Lightning" in one form or another at least by the early 1930s,[1] when he was performing with Charley Patton in small Delta communities.[1] The song, described as "a hypnotic one-chord drone piece",[2] draws on earlier blues, such as Tommy Johnson's "Big Road Blues",[3] the Mississippi Sheiks' "Stop and Listen Blues",[4] and Charley Patton's "Moon Going Down".[5][6] Wolf said the song was inspired by watching trains in the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning." In a song review for AllMusic, Bill Janovitz described "Smokestack Lightning" as "almost like a distillation of the essence of the blues... a pleasingly primitive and raw representation of the blues, pure and chant-like. Wolf truly sounds like a man in otherwise inexpressible agony, flailing for words."[8] In 1999, the song received a Grammy Hall of Fame Award, honoring its lasting historical significance.[13]Rolling Stone magazine ranked it at number 291 in its list of the "500 Greatest Songs of All Time"[7] and the Rock and Roll Hall of Fame included it in its list of the "500 Songs that Shaped Rock and Roll".[14] In 1985, the song was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category[15] and, in 2009, it was selected for permanent preservation in the National Recording Registry of the U.S. Library of Congress. Janovitz also identifies "Smokestack Lightning" as a blues standard "open to varied interpretation, covered by artists ranging from the Yardbirds to Soundgarden, all stamping their personal imprint on the song".[8] Clapton identifies the Yardbirds' performances of the song as the group's most popular live number.[17] They played it almost every show, and sometimes it could last up to 30 minutes. Dead often played it out of Truckin, would also play the blues tune Spoonful out of Truckin. Played:  63 timesFirst:  November 19, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  October 18, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 4:                    Space                                                Track #17                                                7:45 – 9:20  On November 28, 1973, Grateful Dead guitarist Jerry Garcia and drummer Mickey Hart staged a performance at San Francisco's Palace Of Fine Arts. At the time, Hart – whose 80th birthday is today – was on a sabbatical from the Dead, having last performed in public with Garcia and the band in February 1971. Hart would rejoin the Dead for good in October 1974.A poster promoting the concert shows a clean-shaven Garcia dressed in black beside an equally freshly shaven Hart wearing all white. At the bottom of the advertisement was printed “An Experiment in Quadrophonic Sound.”Hart recalled his experience at the duo concert with Garcia in 1973 that was not only a Seastones precursor but also planted the seeds for the band's mind-bending “Space” jams.“There were so many exciting that we've done together. Adventurous musical things. He was also into adventure and creating new spaces, so we had that in common. We got together many times out of the ring – where he first discovered synthesizers, being able to synthesize his guitar, which led to MIDI.“The first concert we did was in 1973. It was just a duo. He got an Arp [Odyssey], an electric instrument, a keyboard, and he plugged his guitar into it and that was the first time I had heard his guitar I had heard his guitar running through sophisticated synthesizers.“I just thought of that concert, which kind of was the beginning of ‘Space' – ‘Drums' and ‘Space' actually – it might have been the very beginning of it. And I think of that on his birthday, the seminal things we did together.” After the November 28, 1973 concert, the Grateful Dead began to occasionally incorporate elements of a “Space” jam into their shows. In January 1978, Dead shows almost always included a nightly “Drums” jam paired with a freeform “Space” jam, consistently showing up mid-second set throughout the rest of their career. Played:  1086First:  March 19, 1966 at Carthay Studios, Los Angeles, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL   OUTRO:                               Brokedown Palace                                                Track #22                                                5:04 – 6:43  The lyric to “Brokedown Palace” was written by Robert Hunter as part of a suite of songs that arrived via his pen during a stay in London in 1970. He entitled it “Broke-Down Palace,” and now that it exists as a piece of writing, it seems to have always existed. It was composed on the same afternoon as “Ripple” and “To Lay Me Down,” with the aid of a half bottle of retsina.Its first performance was on August 18, 1970, at the Fillmore West in San Francisco, and became a staple of the live repertoire. After the 1975 hiatus, “Brokedown Palace” appeared almost exclusively as the closing song of the show, as an encore. It had the effect of sending us out of the show on a gentle pillow of sound, the band bidding us “Fare you well, fare you well…”Garcia/HunterReleased on American Beauty (Nov. 1970) Played: 219 timesFirst:  August 18, 1970 at Fillmore West, San Francisco, CA, USALast:  June 25, 1995 at RFK Stadium in Washington, D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

This raucous David Bromberg composition that The Flood has covered since the song's release in the early 1970s opens with a stream of similes worthy of any precocious English major: She's got eyes like crystal water, Lips like cherry wine, A body like fine brandy, … And a soul like turpentineBut the best bit — the capper for the song — is a borrowed line, in fact, one of the greatest lines in the entire blues oeuvre: When I ask for water she brings me gasoline!In other words, Bromberg used “Jug Band Song” — released on his Demon in Disguise album, his second for Columbia — to pay tribute to one of his idols. Or maybe more than one idol, actually.So Where Did That Wild Line Come From?Most of us who have mucked about in the midnight milieu of blues and hokum think the line is obviously from The Wolf, Mister HOWLIN' Wolf. And that's true. But only up to a point.The fact is that in 1956, with the great Willie Dixon at his side on bass, Howlin' Wolf recorded “I Asked For Water (She Gave Me Gasoline)” for Chess Records. The disc is considered by many to be a defining moment in a remarkable career.However, dig a little deeper — as we usually try to do around here — and you find that Howlin' Wolf was honoring one of his own heroes with that line.Almost 30 years before Wolf, Delta blues innovator Tommy Johnson of Crystal Springs, Mississippi, opened his 1928 recording of “Cool Drink of Water Blues” for Victor with: I asked her for water, and she gave me gasoline.As near as we can tell, that is where the line was born.Tommy in RockTommy Johnson made a habit, incidentally, of contemplating unconventional brews. Remember Alan Wilson and Bob Hite's rocking 1960s blues band Canned Heat? Well, they took their name from a Johnson song, one that was recorded at that same 1928 Victor session in Memphis, in fact. Singing about drinking methanol from the fuel Sterno, Johnson recorded, “canned heat, mama, sure, Lord, killing me!…”) Tommy on the ScreenIn popular culture, Johnson was enshrined in the year 2000 when the Coen Brothers included a character named Tommy Johnson in their film, O Brother, Where Art Thou? Portrayed by Chris Thomas King, the character at one point memorably tells The Soggy Bottom Boys how he sold his soul to the devil in exchange for killer blues guitar chops. (“Oh, son, for that you traded your everlasting soul? / Well, I wasn't using it.”)Props to the Coens for including that bit of music lore. The story of Johnson's dealing his soul to the devil was first told by his brother, LaDell Johnson, and was reported in David Evans' seminal 1971 biography of the artist. (This legend was subsequently attributed to the unrelated blues musician, Robert Johnson, but in fact the story started with Tommy.)Our Take on the TuneIn our world, some songs turn up at the beginning of a Flood night and gauge the energy in the room. Others — like this one — come at the end of the evening and give everybody one last blast before they pack up and head for home. Oh, and be sure listen to the end of this track to catch Sam St. Clair's special sound effects. We think you'll agree they're right on the nose! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Jeff Reynolds, the Bass Trombone of the Los Angeles Philharmonic from 1969-2006 Jeffrey Reynolds was born in Ohio, but spent most of his life in Southern California. A graduate of California State University at Long Beach, he was the bass trombonist with the Los Angeles Philharmonic starting in 1969.  His major teachers were Robert Simmergren and Roger Bobo, with help from Robert Marsteller, Tommy Johnson, and Byron Peebles. His orchestra experience includes the symphonies of Long Beach, Downey, Debut, American Youth, Orange County, San Francisco Ballet, San Diego, and Saint Louis. Chamber music experience includes the Summit Brass, the California Brass Quintet, L.A. Brass Society, the Los Angeles Brass, the Hollywood Trombones, L.A. Philharmonic Institute, and the Ojai Festivals.    

Ex-Celtic striker Tommy Johnson joined Peter Martin to look back on his career that included massive success at the Hoops, his dream of playing for Newcastle Utd and who he would choose as his dream roadtrip guests. 

Opening Day is under a month away as Mark & Al convene to discuss the latest with the Nationals. James Wood has been the star of Spring Training and that is where the conversation begins. What are the chances the 21-year-old will be with the Nats on March 28th in Cincinnati? (08:30) An update on how Dylan Crews and Robert Hassell III have looked during Grapefruit League play. (11:30) An explanation of the complicated Prospect Promotion Initiative (PPI) that factors into the decision of whether or not to put a highly regarded prospect on the Opening Day roster. (14:45) A look at the starting rotation and who stacks up where in the pecking order. (25:35) There have been rave reviews for Sean Doolittle in his new role as pitching strategist, a position he was hired for in mid January. Hear a brief explanation of what his duties entail. (30:00) Then we turn our focus to what the bullpen looks like this year. Unfortunately there will not be Mason Thompson in 2024 as he will undergo Tommy Johnson surgery. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dive into the dynamic world of decentralized finance as we sit down with the brilliant mind behind PsyFi.io, Tommy Johnson, in our latest podcast episode. From winning the Solana x Serum DeFi Hackathon to contributing over a decade of engineering experience to the Solana ecosystem, Tommy's journey is nothing short of extraordinary. In this episode, we explore the inception of PsyFi.io, the recent launch of Armada, and the innovative suite of open-source tools designed for the Solana ecosystem. Gain insights into protocol development, the creation of cutting-edge financial products, and the future of DeFi on Solana.

Nous allons ouvrir un gros dossier :  "Crossroad blues ». Cet épisode va nous permettre de parler du morceau mythique et fondateur « Crossroad» ou crossroad blues et l'histoire des début discographique du blues, De Cream le premier supergroupe de l'histoire du rock, et pour finir  du mythe de Robert Johnson et du ramassis de conneries qui l'accompagnent. Cet épisode sera donc en 3 parties…. PLAYLIST The Bonzo Dog Band, "Can Blue Men Sing the Whites ?" "One O' Them Things" The Victor Military Band, "Memphis Blues" Ciro's Club Coon Orchestra, "St. Louis Blues" Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues", Mamie Smith, "Crazy Blues" Ma Rainey, "See See Rider Blues" Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer" Reese DuPree, "Norfolk Blues" Papa Charlie Jackson, "Airy Man Blues" Blind Blake, "Southern Rag" Blind Lemon Jefferson, "Got the Blues" Big Bill Broonzy, "The Glory of Love" Son House, Mississippi County Farm Blues" Skip James, "Twenty-Two Twenty Blues" Skip James, "Hard Time Killing Floor Blues" Charlie Patton, "Poor Me" The Mississippi Sheiks, "Sitting on Top of the World" Tommy Johnson, "Big Road Blues" The Staple Singers, "Will The Circle Be Unbroken" Robert Johnson, "Crossroads" Willie Brown, "M&O Blues" Howlin' Wolf, "Smokestack Lightnin' Charlie Patton, "34 Blues" John Mayall and the Bluesbreakers, "It Ain't Right" Alexis Korner et Davey Graham, "3/4 AD" John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)" Blues Incorporated, "Hoochie Coochie Man (BBC session)" " At the Jazz Band Ball" The Don Rendell Quintet, "Manumission" Duffy Power, "I Saw Her Standing There" The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)" The Graham Bond Organisation, "Long Tall Shorty" Duffy Power, "Parchman Farm" Bande Annonce : Gonks Go Beat !

Canned Heat emerged in 1966 and was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Hite took the name “Canned Heat” from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector who was a former member of Frank Zappa's Mothers of Invention. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands of the day. The band attained three worldwide hits, “On The Road Again”, “Let's Work Together” in 1970 and “Going Up The Country” in 1969: all of which became rock anthems. They secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. The band collaborated with John Mayall and Little Richard and later with blues icon, John Lee Hooker. In September 1970, the band was shattered by the suicide of Alan Wilson. His death sparked reconstruction within the group and member changes have continued throughout the past five decades. In 1981, vocalist, Bob Hite collapsed and died of a heart attack and in 1997, Henry Vestine died in Paris, France following the final gig of a European tour. In 2019, original bass player, Larry “The Mole” Taylor passed away with cancer. Despite these untimely deaths, Canned Heat has somehow survived. They have played more festivals, biker gatherings and charity events than any other band in the world. They and/or their music have been featured on television and in films. Now, more than fifty years later and with forty albums to their credit, Canned Heat is still going strong. They have been anchored throughout the past fifty-five years by the steady hand of drummer/band leader and historian, Adolfo “Fito” de la Parra. Fito's book, “LIVING THE BLUES” tells the complete and outrageous Canned Heat story of “Music, Drugs, Death, Sex and Survival” along with over 100 captivating pictures from their past and is available through the band's merchandise page. FIto de la Parra joins us this week to share tales of his incredible journey. I hope you enjoy the story of Canned Heat. If you have any comments, feedback or suggestions for future guests please don't hesitate to get in touch with me through my website https:www.abreathoffreshair.com.au

Did any of these artists sell their souls to the devil? Tommy Johnson. Robert Johnson. Bob Dylan. Jimmy Page. Let us know what you think. you can find Caleb Lee Hutchinson at Instagram- @CalebLeeMusic Facebook- @CalebLeeHutchinsonMusic YT-@Caleb_Lee_Hutchinson X- @CalebLeeMusic  Go check out his Album Southern Galactic. It's pretty awesome! https://cmdshft.ffm.to/southerngalactic We stream live video every sunday at 4 pm pacific only at www.SchrabHomeVideo.com visit RealLifeSciFi.show  We write on twitch Monday nights 8pm pacific at Twitch.TV/RealLifeSciFi Gaming with RoboticWilly on Thursday nights 7pm pacific Twitch.TV/RealLifeSciFi Support us and get more content at Patreon.com/reallifescifi we exist because of you. hit us up at WadeandWilly@gmail.com Thank you for listening :)

In this episode, Tommy Johnson discusses Armada, a collaborative project between PsyFi and HXRO that provides an open-source toolkit for launching tokens from inception to full decentralization. He and Austin reflect on the historical pain points of token launches, the evolution of tokenomics over the last several years, "governance-light" vs. "governance-heavy" DAO models, and more.  DISCLAIMERThe content herein is provided for educational, informational, and entertainment purposes only, and does not constitute an offer to sell or a solicitation of an offer to buy any securities, options, futures, or other derivatives related to securities in any jurisdiction, nor should not be relied upon as advice to buy, sell or hold any of the foregoing. This content is intended to be general in nature and is not specific to you, the user or anyone else. You should not make any decision, financial, investment, trading or otherwise, based on any of the information presented without undertaking independent due diligence and consultation with a professional advisor.  Solana Foundation Foundation and its agents, advisors, council members, officers and employees (the “Foundation Parties”) make no representation or warranties, expressed or implied, as to the accuracy of the information herein and expressly disclaims any and all liability that may be based on such information or any errors or omissions therein. The Foundation Parties shall have no liability whatsoever, under contract, tort, trust or otherwise, to any person arising from or related to the content or any use of the information contained herein by you or any of your representatives. All opinions expressed herein are the speakers' own personal opinions and do not reflect the opinions of any entities.  

How does this 2000 film engage with and differ from Homer's epic poem, the Odyssey, on which it is loosely based? How do various characters in the film, which is set in the deep South during the depression, reflect famous characters in that story? How does the film portray the role of popular music in racial integration during this period in American History? How does the film portray the relationship that existed between racial aspects of the prevailing political order and the opposed and organic growth of integration in popular culture? How does the opportunism of governor, Pappy O'Daniel, with regard to the integrated band formed by Ulysses, Tommy Johnson and the others illustrate? What does the film tell us about the power of recording technology and radio as drivers of social change in the depression era South, and what lessons can we derive concerning the modern media environment and its more positive potential?

Follow the @SolfatePod show on Twitter for updates. Thanks for listening frens :)Notes from the showA conversation with Tommy Johnson, founder of PsyFi and PsyOptions.Tommy has been in the Solana ecosystem longer than most, having participated in one of the first global hackathons. From building one of the first options markets on Solana, to now launching their latest product: ArmadaFi.The goal of the ArmadaFi platform is to allow people to create better tokenomics by providing the tools teams need to pull it off.Having been through the ups and downs of the blockchain's financial markets, and working in the DeFi world, Tommy shares his insights on how the journey was first hand. And why this has helped shaped his opinions on blockchain based financial markets.Find Tommy and PsyOptions onlineFollow Tommy on twitter - @tomjohn1028Follow PsyOptions on twitter - @PsyOptionsVisit the PsyOptions website: PsyOptions.ioFollow us aroundNicktwitter: @nickfrostygithub: github.com/nickfrostywebsite: https://nick.afJamestwitter: @jamesrp13github: github.com/jamesrp13Solfate Podcasttwitter: @SolfatePodmore podcast episodes: solfate.com/podcast

Aan het eind van de jaren twintig ontstond er een nieuwe interesse in de plattelandsblues of de Country Blues. Field Recorders zoals Ralph Peer trokken naar afgelegen gebieden om opnames te maken van lokale artiesen. In deze aflevering leren we waarom Howlin' Wolf huilt als een wolf en hoe een spoorwegarbeider al jodelend vanuit de blues de basis van de countrymuziek kristalliseerde. En we ontdekken dat een Keniaans volksliedje verwijst naar de Blues. Nieuwsgierig naar meer? Volg me op Facebook, Instagram of Twitter. Of bezoek www.souloftheblues.be --- Send in a voice message: https://podcasters.spotify.com/pod/show/bart-massaer/message

In this episode of the DeFi Download, Tommy Johnson, Core Contributor of PsyFi, joins Piers Ridyard to discuss their two-sided DeFi marketplace for structured products, which allows users to earn yield on their assets and traders to hedge or leverage their portfolio.SummaryPsyFi offers products such as covered calls, secured puts, and spread structured products, which PsyFi wraps up and tokenizes. The PsyFi team is developing a market-making vault product where users can deposit two-sided liquidity and earn fees based on participating in and providing liquidity for trades.Piers and Tommy explain what a structured product is and use covered calls as an example to discuss how the PsyFi platform works. They discuss the risks and rewards of PsyFi's covered call options compared to over-collateralized borrow-lending products like Aave. They also discuss the market need for a riskier product like PsyFi and the usefulness of buying covered calls or secured puts for market actors who have a directional view or want to hedge their positions.Key takeawaysPsyFi is a decentralised finance platform that allows users to trade options on Solana.A covered call is a selling strategy in which the user sells calls week-to-week, taking the position that the price of the underlying asset will not cross the strike price by the expiration date of the call.PsyFi's covered call options provide a 0.35% weekly return and 12% APY but can result in users making lots of money or suddenly losing money depending on the volatility of the asset. They are riskier than over-collateralized borrow-lending products like Aave.PsyFi's structured products provide an opportunity for people to earn impressive yields on their assets, but they require a directional view and are not a leave-it-and-see-what-happens kind of product.Buyers of PsyFi's structured products include speculators with market opinions and more institutional market makers who may be hedging across their book.Chapters[01:07] The definition of structured products[02:15] How a covered call works on the PsyFi platform[04:42] Does the trader's profit from a PsyFi covered call come from the user's Solana?[05:22] Selling volatility and making money through covered calls on PsyFi[06:21] What is the expected return on a two-week covered call on Solana?[06:50] The risks and rewards of PsyFi's covered call options compared to Aave's over-collateralized borrow-lending products[08:02] Why does the market need a riskier product like PsyFi?[09:20] What functionalities do buyers of covered calls or secured puts need, and why are these products necessary?[10:50] Using covered call options for asset exposure and risk hedging in DeFi[14:03] Are people primarily using the PsyFi protocol for hedging or speculation? [15:41] How does collateralization work in PsyFi's covered call scenario, even if a portion of assets have been sold?[17:20] Capital efficiency in options markets and borrow-lend protocols[20:12] How a high-interest rate environment has affected the market for structured products in decentralised finance[21:34] How has PsyFi responded to the higher yield environment created by the Fed?[24:23] Democratising market maker returns in DeFi with a delta-neutral vault[26:11] How does PsyFi evaluate market makers before granting access to capital?[27:43] PsyFi's launch date[28:03] Where to find out more about PsyFiFurther resourcesWebsite: psyfi.io Twitter: @PsyOptionsDocumentation: docs.psyfi.io

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Although one of the most successful artists and songwriters of the 60's, Marvin Gaye had not released a solo studio album for two years prior to In the Groove, his eighth studio album.  Instead he had been releasing duet performances with artists like Kim Weston and Tammi Terrell.  Gaye was one of the primary artists shaping what would become the Motown sound, first as a session player, then as a solo artist and songwriter.  Gaye formed a vocal quartet called The Marquees shortly after leaving the Air Force in the late 50's.  The Marquees performed in the D.C. area, connecting with Bo Diddley who co-wrote their first (and only) single, "Wyatt Earp."  The group disbanded in 1960, and Marvin Gaye relocated to Detroit, connected with Barry Gordy around Christmas of 1960, and signing with Tamla, a Motown subsidiary.  By 1962 Gaye was a success as a singer, session musician, and writer.In the Groove was released in August of 1968, and would see its third single, I Heard It Through the Grapevine released in October.  This single would become Gaye's first number 1 hit.  October would also bring tragedy, when his vocal duet partner Tammi Terrell collapsed from exhaustion into Gaye's arms, later being diagnosed with a brain tumor which would eventually claim her life.  After the monster international success of I Heard It Through the Grapevine, the entire album would be re-released under that title.  The album was both a critical and commercial success.John Lynch brings us this soulful selection. I Heard It Through the GrapevineAlthough one of Gaye's most successful songs, he was not the first artist to record or release the song.  It was intended to be released by Gladys Knight & the Pips, who did so in September 1967.  The Miracles also recorded the song and released it in 1968.  Gaye's version would become the classic rendition.YouThis was the first single from the album, released in December of 1967, months before the album.  The song was about a man wanting to keep his relationship with a woman secret, because she was upper class and he was working class.  It featured a rougher Gaye vocal part than was typical of his previous songs, and  went to number 34 on the pop charts.ChainedThe second single would be released in August 1968, the same month as the album release.  Frank Wilson wrote and produced this song which went to number 32 on the Billboard Hot 100.  The lyrics are about a man pining for a woman he lost and wants back.Some Kind of WonderfulThis deeper cut was not released as a single.  The Drifters originally released this song in 1961, and it was written by Gerry Goffin and Carole King.  Many artists would cover this one, including Carole King and most recently Michael Bublé.  ENTERTAINMENT TRACK:Barbarella by The Bob Crewe Generation (from the motion picture “Barbarella”) Jane Fonda's cult classic of bad science fiction films would appear in the theaters in October 1968. STAFF PICKS:On the Road Again by Canned Heat Bruce starts the staff picks with a blues and harmonica jam off Canned Heat's second album “Boogie with Canned Heat.”  The group takes its name from a 1928 Tommy Johnson song entitled "Canned Heat Blues."  Canned Heat's lead vocalist was Bob "The Bear" Hite, but Alan "Blind Owl" Wilson takes the lead for this song.  Chewy Chewy by Ohio ExpressRob features a happy bubblegum pop number from Mansfield, Ohio.  Ohio Express consisted of session musicians who put out the music for Super K Productions.  The group had a previous hit in "Yummy, Yummy, Yummy."Sunshine Help Me by Spooky Tooth Wayne brings us an acid rock deep cut written by Gary Wright of “Dream Weaver” fame.  The song itself is about letting the sunshine clear the singer's mind.  Spooky Tooth was a blues/psychedelic band from England active between 1967 and 1974.  This song was not a hit, but did appear on their greatest hits album.Hey Jude by The BeatlesLynch's staff picks is  one of the Beatles' biggest hits, though it was not released on a studio album at the time. It is also the longest single in the Beatles' catalog, running 7:11, the longest single ever released at the time.  It was written by Paul McCartney for John and Cynthia Lennon's son Julian when John and Cynthia were going through a divorce.     NOVELTY TRACK:Mr. Tambourine Man by the William ShatnerSomehow Shatner was able to put this song in the hopper while simultaneously starring as Captain Kirk in the original run of the TV show, Star Trek.  We'll let you decide whether he missed his calling as a rock star.

Haaland, Tommy Johnson, Records falling left and right? the BFTB lads are having fun with this one!

Tommy Johnson has been developing in the Solana ecosystem since summer of 2020. After winning the first Solana x Serum hackathon, he and a team launched PsyFi, made the first ever acquisition in the Solana ecosystem, had the most oversubscribed FTX IEO in history, and launched the PsyFi DAO. He has also made meaningful contributions to cornerstone projects like Serum, Metaplex, and SPL Governance / Realms. --- Support this podcast: https://podcasters.spotify.com/pod/show/crypto-hipster-podcast/support

Before integration in 1970, black students in Newnan went to Central High School, and white students attended Newnan High. Once Central students became Newnan High School students, it was a difficult transition. In this episode, former Central students Brad Hill, JoAnne Hill, Robert Hines, and Tommy Johnson join David and Derrick to talk about their experiences as student-athletes making the transition to Newnan High.

Tommy Johnson is on the pod today to react to your wild (and troubling) tales from your Mormon missions. We cover rebel missionary groups, militaristic mission presidents, a Joseph Smith shrine and companions who bite… literally. Let's heal from our mission trauma together! --- Support this podcast: https://podcasters.spotify.com/pod/show/hayley-rawle/support

On this week's podcast we sit down with PVFC's Head of Recruitment, Tommy Johnson. Tommy talks to us about what goes into signing a player for the Valiants, his route to the role and the work that went into rebuilding the squad at the beginning of the 2021/22 season. Thank you for downloading the Official Port Vale podcast. You can keep up to date with the club across our social media channels. Twitter - @OfficialPVFCFacebook - /OfficialPVFC www.port-vale.co.ukThank you to our podcast sponsor - The Turmeric Co. You can find out more about The Turmeric Co. by going to theturmeric.co Use the link below for a special offer/discount on your first box of turmeric shotstheturmeric.co/pages/mixed-box-intro-2023-3#PVFCPod

Many people believe Gene Porkorny is the greatest orchestral tubist of his generation. A member of the Chicago Symphony Orchestra since 1989, he has also been a member of the Israel Philharmonic, the Utah Symphony, the St. Louis Symphony, and the Los Angeles Philharmonic. But in addition to his orchestral playing, Gene is an exceptional solo artist and chamber musician.As a young man Gene studied with many of the great brass players of our time. In Part 1 of our discussion, he talks about what he learned from each of his teachers (Jeff Reynolds, Roger Bobo, Larry Johanson, Tommy Johnson, and Arnold Jacobs and what made each of those teachers so special. He also talks about a concert in May of 1973 that changed the course of his life.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!

With this podcast we feature an interview and discussion from our friend and ethnomusicologist Dr David Evans who introduces 12 outstanding blues artists who knew and learned from early blues legend, Mr Tommy Johnson.

With this podcast we feature an interview and discussion from our friend and ethnomusicologist Dr David Evans who introduces 12 outstanding blues artists who knew and learned from early blues legend, Mr Tommy Johnson.

@thetomsters is a funny dude. And so much more! Tommy Johnson created a video about what it might be like to arrive at the pearly gates on judgement day as a Mormon. It went totally viral, as it should. When he created the video, he was fully active in the LDS church. A year later, he's on his way out of the church.  Find out what happened and how our show, Mormon No More, was a part of his transition. 

Most musicians work for years to master their instruments, with no guarantee of success. To what lengths will humans go for the sake of genius? What wouldn't we give to be talented? To be famous? To be the best in the world? In this episode, we meet four musicians rumored to have paid the ultimate price for their art.Researched, written, and produced by Corinne Wieben with the voice talent of Jack Krause.  Music:- Paganini's 24 Caprices for Solo Violin, Op. 1 - XX. Caprice in D Major. Allegretto, performed by Jonathan Vered is from MusOpen.- Blues guitar riffs by juskiddink are from FreeSound:https://freesound.org/people/juskiddink/sounds/77268https://freesound.org/people/juskiddink/sounds/58493- All other original music is by Purple Planet.Episode bibliographyEnchantedPodcast.netFacebook/enchantedpodcastInstagram/enchantedpodcastTwitter/enchantedpodSupport the show

Where does American popular music come from, and what does the devil have to do with it? On Part One of a two-part series on music and the occult, Justin Farrar and I discuss Peter Bebergal's excellent history Season of the Witch: How the Occult Saved Rock and Roll, as we explore the eerie mythology that haunts the origins of blues and rock. Some of the musicians and other figures mentioned in this episode include Robert Johnson, Clarence Ashley, Big Mama Thornton, Elvis Presley, Led Zeppelin, David Bowie, Black Sabbath, Tommy Johnson, Skip James, Kurt Cobain, R.E.M., Harry Smith, The Geto Boys, and lots more.  For more episodes of Record Trap and access to the entire Nostalgia Trap universe, subscribe at patreon.com/nostalgiatrap. 

Madison and Tommy Johnson join us for a conversation about being in a mixed faith marriage and newly married. You may have seen Tommy’s very popular Tik Tok channel @thetomsters which causes people to constantly ask him – so are you in or are you out of the church? Tommy has a large following on… Read More »Marriage on a Tightrope: 123: Madison and Tommy Johnson (@thetomsters) The post Marriage on a Tightrope: 123: Madison and Tommy Johnson (@thetomsters) appeared first on Mormon Discussions Podcasts - Full Lineup.

Madison and Tommy Johnson join us for a conversation about being in a mixed faith marriage and newly married. You may have seen Tommy’s very popular Tik Tok channel @thetomsters which causes people to constantly ask him – so are you in or are you out of the church? Tommy has a large following on… Read More »Marriage on a Tightrope: 123: Madison and Tommy Johnson (@thetomsters) The post Marriage on a Tightrope: 123: Madison and Tommy Johnson (@thetomsters) appeared first on Marriage on a Tightrope.

In today's conversation, I talk with Tommy Johnson John is the Director of Sports Psych at the PRIMAL 1 BASEBALL in Gaithersburg Maryland ------------------------ Follow Tommy on Twitter at https://twitter.com/PrimeAthlete14 ----------------------------------------- Go Check Out Tommy's first episode on the podcast https://anchor.fm/chad-longworth/episodes/Episode-19---Tommy-Johnson-e198nib ______________________ Did you enjoy this podcast? You can get video access to all of the episodes as well as INSTANT access to all of the episodes before they drop on Apple and Spotify with our BRAND NEW Podcast Premium Get 40% off with code "podcast" for a LIMITED time only ➕➕➕➕➕➕➕➕ I am giving you FREE access to our two flagship starter courses "Foundations of Throwing" ($149) AND "First Principles of Hitting" ($149) T hat's over $350 in savings for our best content! Get Access Now

Pequena leitura sobre a perseverança. Este episódio tem a participação especial do papai Tommy Johnson, papai do Benjamin e da Gabriela e meu esposo. Espero que gostem!

Tommy Johnson, founder of PsyOptions, explains what DeFi is, the biggest risks and rewards of investing in it, and his predictions for the future. Tommy is a serial entrepreneur and software engineer. He began following Solana in early 2020 prior to the mainnet beta. Tommy and the distributed PsyOptions team won the first Solana season hackathon.PsyOptions aim to become one of the foundational DeFi primitives on the Solana blockchain by offering completely trustless American style options for any SPL token.This episode of What's on the Block? is hosted by Maxine Ewing from X4 Technology, a global technology and finance talent partner: www.x4-technology.com. 

Tommy Johnson, founder of PsyOptions, talks about Solana's early days to now, why Ethereum and Solana are often compared, and the biggest opportunities for start-ups in this space right now. Tommy is a serial entrepreneur and software engineer. He began following Solana in early 2020 prior to the mainnet beta. Tommy and the distributed PsyOptions team won the first Solana season hackathon. PsyOptions aim to become one of the foundational DeFi primitives on the Solana blockchain by offering completely trustless American style options for any SPL token.This episode of What's on the Block? is hosted by Maxine Ewing from X4 Technology, a global technology and finance talent partner: www.x4-technology.com. 

In today's conversation, I talk with Tommy Johnson Tommy is the Owner Of Primal 1 baseball in Gaithersburg, Maryland You can interact with Tommy on Twitter @PrimeAthlete14 Join LPD+ and get instant access to all of the podcast episodes before they drop! Use code "podcast" and get 10% off https://chadlongworthonline.com/lpd-plus/ You can find me on social media: www.twitter.com/clongbaseball www.instagram.com/clongbaseball www.snapchat.com/clongbaseball www.youtube.com/chadlongworthbaseball www.tiktok.com/@clongbaseball3 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Greg Anderson, Joey Oksas, Tommy Johnson Jr., & More Each week on the Wes Buck Show the Drag Illustrated staff, Wes, Murder T, and Mike Carpenter, talk all things drag racing and more. Drop in and join the conversation. There is no other place to get your weekly Drag Racing fix! --- Support this podcast: https://anchor.fm/thewesbuckshow/support

Today's episode is an interview with Tommy Johnson, Director of COG & VRLY Storm. In this episode Tommy discusses his journey from youth player to community mentor, coach, and director. Tyler Irons is an American entrepreneur, real estate technology innovator, real estate marketing expert, speaker, internet personality, and consultant. He is the founder of the real estate technology software company VRLY. ► Learn More @ getvrly.com ► YouTube Follow - VRLY ► Instagram Follow - getVRLY ►Twitter Follow - getVRLY ► Apple Podcast Follow - Tyler Irons TylerIrons.com #TylerIrons

Jose kicks off Phoenix Unbound with our first guest, Tommy Johnson. Tommy talks about the importance of holding political parties, and their funding, accountable in order to enact social change. Through this, policy reform happens and can impact mental health for LGBTQ+ folks!Learn more about our mission to empowered the voices of historically silenced communities at www.thephoenixempowered.org and follow us on LinkedIn, Facebook, and Instagram (The Phoenix Empowered) and Twitter (TPEmpowered). Keep rising!

Tommy Johnson and Fennie Wang are developing a certification process to authenticate products of Black culture. Through a blockchain-based cryptographic mark, MWBC certifies products as ethical commercial uses of Black culture, even as they change hands over time. --- Send in a voice message: https://anchor.fm/impact-alpha-tr/message

Donate to our show: Paypal - K1ngT11@yahoo.comWe are moving to a new home to record/edit podcasts! Please consider donating to our podcast!  Want to promote a product, service, or music? Contact Blazinatrailpodcast@gmail.comWATCH ALL EPISODES ON OUR YOUTUBE. PLEASE LIKE & SUB! https://www.youtube.com/channel/UCavktmcHRr67j1n4wSl8g2w/videosToday we are joined by a group of heavy hitters and mentors that have gone out to help develop local youth to their full potential not just as athletes but as competent human beings.Tommy Johnson is an entrepreneur, the founder and CEO of City Of Guards Training, VRLY Basketball director, father, a straight hooper, college graduate, a big brother, and a girls coach at Lincoln High School, and many other things.Tyler Irons is a new friend who is also an entrepreneur, the founder, and CEO of VRLY, a Real Estate tech innovator, internet personality, a veteran, and much more.Topics we discussed: Making a new facility in Lincoln, NE for kids called CLUB LNK, real estate, marketing, taking risks, having doubts, raising capital, having ambition, and much more!If you want to watch our episodes make sure to search our YouTube Channel "K1NG TUT" FOLLOW US:BLAZIN A TRAIL PODCAST: https://www.instagram.com/blazinatrailpodcast/Ether Saure: https://www.instagram.com/ethersaure/Jack Rodenburg: https://www.instagram.com/jackrodenburg/Jack's Patreon: https://www.patreon.com/jackrodenburgJack's Twitch: https://www.twitch.tv/jackrodenburgJack Buchanan: https://www.instagram.com/buchanan_jack/Nelson King: https://www.instagram.com/nking07/Nelson King Photography: https://www.instagram.com/nelsonkingphotography/K1NGTUT:   https://www.instagram.com/k1ngtut11/TWITCH: www.twitch.tv/k1ngtut11YATO Clothing:  www.yato.life/shopYATO Instagram:  https://www.instagram.com/yatobrand/Timecodes:00:00 - INTRO00:28 - QUICK ANNOUNCEMENTS00:54 - INTRODUCING GUESTS03:03 - BACKGROUND05:50 - CHILDHOOD EXPERIENCE08:06 - WHAT LED TOMMY TO START COG(CITY OF GUARDS)10:45 - HOW TYLER RAISED CAPITAL FOR VRLY12:28 - WHEN DID YOU START HAVING DOUBTS ABOUT YOUR JOURNEY?14:28 - CREATING A NEW FACILITY CALLED CLUB LNK19:47 -  5 YEAR OUTLOOK FOR CLUB LNK21:02 - HOW HAS BEING AN ENTREPRENEUR AFFECT YOUR FAMILY/SOCIAL LIFE?26:24 - WHAT KEY ACTIVITIES WOULD YOU RECOMMEND TO ENTREPRENEURS?29:33 - WHAT MOTIVATES YOU?35:59 - WHAT IS YOUR DAILY ROUTINE?43:55 - RAPID FIRE QUESTIONS!48:38 - TYLER ASKS K1, NELSON & JACK A QUESTION ABOUT GOALS52:50 - OutroWATCH ALL EPISODES ON OUR YOUTUBE. PLEASE LIKE & SUB! https://www.youtube.com/channel/UCavktmcHRr67j1n4wSl8g2w/videos

Tommy Johnson, Jr. has been racing since he was 15 years old. Now with 37 years of experience and 450 events under his belt, Tommy is one of just 17 drivers who have won NHRA events in Funny Car and Top Fuel; he's competed in 7 NHRA categories, won drag racing events in 6 countries, and has driven for Hall-of-Fame Team Owners Don Schumacher, Don Prudhomme, Kenny Bernstein and NFL Hall-of-Famer Joe Gibbs. In this episode of “The Skinny” Tommy shares stories of his amazing career with Rico and Ken, recounts emotional stories about his late father, and reveals some impressive craftsmanship skills that you may be surprised to learn about!   https://tommyjohnsonjr.com/https://myskinnycrew.com/wp/ Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

Tommy J joined the podcast early on for some fun and it got deleted.

The Athletic's Gregg Evans and Dan Bardell reflect on another fantastic performance from Jack Grealish, but this time for England.They debate where he should play in Gareth Southgate's starting 11 and which players should line up alongside him in England's attack.There's a special interview with Villa cult-hero Tommy Johnson, and they preview this weekend's game against BrightonSPECIAL OFFER!Right now you can subscribe to The Athletic for just a pound.Read all of Gregg's articles on the Villa and so much more.Just go to www.theathletic.com/villapod to sign up. Learn more about your ad choices. Visit megaphone.fm/adchoices Hosted on Acast. See acast.com/privacy for more information.

This episode focuses on Frederick Fennell and the Eastman Wind Ensemble's landmark 1960 recording The Civil War: Its Music and Its Sounds. We discuss Fennell's inspiration for the album, the musicians on the album, the instruments used for the recording, as well as the music on the album.If you like the show, the best way you can support us is by becoming a patron at https://www.patreon.com/eabbpodcast. We appreciate any support you feel compelled to give!Episode Structure:0:00 – 2:20 – Introduction2:20 – 8:42 – Background on the Eastman School of Music and Frederick Fennell8:42 – 11:43 – Origins and background of the Eastman Wind Ensemble11:43 – 16:10 – Fennell's inspiration for The Civil War: It's Music and It's Sounds16:10 – 20:33 – Recording dates and recording process for the album20:33 – 23:35 – Initial and subsequent releases23:40 – 29:00 – Musicians on the albumStephen was incorrect about Roger Bobo playing on the Jaws soundtrack. Tommy Johnson played tuba for that movie. Roger Bobo played tuba on the soundtracks for: Close Encounters of the Third Kind, Indiana Jones and the Temple of Doom, Meet the Applegates, Baby: Secret of the Lost Legend, The COlor Purple, and Robin Hood.29:00 – 42:06 – Instruments used on the album42:06 – 51: 46 – Music on the album51:46 – 56:06 – Interesting facts and other Civil War music recordings with which Frederick Fennell was involved56:06 – 58:14 – Featured album: The Civil War: It's Music and It's Sounds, Episode 3 teaser58:14 – 58:34 – Outro music

Blues guitarist Robert Johnson is said to have gotten his musical talent by selling his soul to the devil at the crossroads close to the famous Dockery Plantation in the Mississippi Delta. The same story was told earlier about another bluesman named Tommy Johnson.

We want this podcast to serve as a reminder that in our darkest hours when it feels like life has us buried we've only been planted. Connect with us: Twitter https://twitter.com/PlantedPodcast Instagram https://www.instagram.com/planted_podcast/ Facebook https://www.facebook.com/PlantedPodcast513/ Email us at plantedpodcast513@gmail.com