Podcasts about under my thumb

Ce 24 mars, Marjorie Hache propose deux heures de son alternatif dans Pop-Rock Station, entre classiques et découvertes. On retrouve The Clash, Jefferson Airplane, R.E.M., mais aussi les Rolling Stones avec "Under My Thumb". Sur le versant des nouveautés, le groupe Sparks ouvre la soirée avec "Jansport Backpack", tandis que les Bordelais de Pogo Car Crash Control frappent fort avec "Shallow Time" et annoncent un concert à la Cigale le 27 novembre. La jeune Naya Mö, originaire de Bordeaux, séduit avec "Reverb Boy", issu de son EP "Dealing with Ghosts". L'album de la semaine est signé The Horrors : "Night Life", un disque qui illustre l'évolution du groupe vers un post-punk teinté d'indus, avec ce soir "Silent Sisters". Le long format est réservé à Tape/Off, groupe australien recommandé par Francis Zégut. On découvre le titre très punk de Scowl "Not Hell, Not Heaven". Enfin, la reprise du jour est signée Corey Taylor et Bad Omens avec "Dust In The Wind", un hommage puissant au groupe Kansas. La playlist de l'émission : Sparks - Jansport Backpack The Rolling Stones - Under My Thumb Sinéad O'connor - Nothing Compares 2 U The Clash - The Guns Of Brixton Naya Mö - Reverb Boy Noir Désir - En route pour la joie Suicidal Tendencies - Monopoly On Sorrow The Horrors - Silent Sister Jefferson Airplane - Somebody To Love Tape/Off - Paris, Texas, Queensland Ramones - Sheena Is A Punk Rocker Scowl - Not Hell, Not Heaven Corey Taylor - Dust In The Wind (Feat. Bad Omens) R.E.M. - Supernatural Superserious The Smashing Pumpkins - Beguild Pogo Car Crash Control - Shallow Time Elvis Presley - Jailhouse Rock Cat Power - Peace And Love Rory Gallagher - Cradle Rock (Irish Tour 74 - Live) Anthrax - Antisocial Pavement - Summer Babe Witch Fever - Dead To Me! Franz Ferdinand - This Is Fffire (Cyberpunk) The Surfaris - Wipe Out Bill Withers - Grandma's Hands Weezer - Say It Ain't So Primal Scream - Settlers Blues Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Lee and guest host Wick check out Roy Ward Baker's "Dr. Jekyll and Sister Hyde" (1971), a Hammer production which marked the first gender-bending adaptation of Robert Louis Stevenson's famous story. The conversation jumps around from the excellent lead performances of Ralph Bates and Martine Beswick to how the film weaves in the Jack the Ripper and Burke and Hare stories, as well as if it actually intended any progressive message with its gender-switching story, of if it was all just an excuse to see Beswick fondle herself in the mirror while naked (spoilers: it was!). The hosts also talk about what they've watched lately. "Dr. Jekyll and Sister Hyde" IMDB  Check out Wick's art here.  Featured Music: "Dr. Jekyll and Sister Hyde Main Theme" by David Whitaker & "Under My Thumb" by Tina Turner.

Baby, It's Cold Outside, but it's about to feel like Dateline in here! Ever pondered the lyrics of familiar songs that you've sung along to, perhaps since your childhood, only to discover they hold a different meaning than you initially thought? Join Jennifer Noran, AKA Queen Bee of Queen City Steam, and Madame Perry as they delve into the hidden dark themes in popular music. Songs like Under My Thumb by The Rolling Stones, Every Breath You Take by Sting, and even the classic holiday tune Baby, It's Cold Outside might surprise you with their themes of domestic violence, misogyny, and homophobia. Share your thoughts by calling or messaging during the live broadcast, or by leaving comments on the review section of Madame Perry's Salon on your preferred podcast platform.  

This episode is the most 70s episode ever made.Jason, Jim, and Joseph roll out the best skating scenes in movies and television.Hell Toupee, the best supergroup that never was.GFD - a bad idea fully realized.Nearly 45 years later and rollerball is closer to being an Olympic event than roller skating.10 minutes for 10 bucks.Roller Skates + Cocaine = XanaduThe Warriors come out to play and skate to the disco version of "Under My Thumb".Heaven's Gate Ad: Give us 3 hours and a chance.(B-listers + old timers + cocaine + skating) - Erik Estrada singing "Celebration" = CHiPs Roller Disco extravaganza.Would you like a schmoke and a pancake?Who forgot the flowers and why did it make such a funny movie ending?

It's Ebony and Ivory, baby, and we've got the Chairman of the Board to sing it for you today! Well, ok, we actually have Joe Piscopo with his superb Frank Sinatra impression that he frequently deployed on Saturday Night Live in the early 1980s. His SNL run also included one of the most cringe inducing (in a good way) SNL characters ever -- Doug Whiner. After a few missteps along the way after SNL (bodybuilding!), Joe developed a touring act that focuses on his musical impressions and has become a long running talk radio host in New York. As always find extended cuts below and thanks for sharing our shows! Want more Joe? Joe Piscopo has the misfortune to join SNL just after the original cast and Lorne Michaels had all departed. Lucky for him, Eddie Murphy was also along for the ride and they were the only two kept the next year when they became breakout stars and were featured in what is often voted one of SNL's best sketches ever -- take it away Stevie Wonder and The Chairman of the Board. https://youtu.be/U3-2Z2rmG0w?si=OTAogohQXoxAqq1K While his mimicry made him a star, Joe stood out in other sketches, none more so than as Doug Whiner, half of "The Whiners", a couple who meet every minor problem with a gale force blast of -- well, whining! https://youtu.be/xH8yt71CDNU?si=9N7fFa3SAD4vW7Dd Joe had always reveled in his New Jersey background -- in later talk radio incarnation he was known as "Jersey Joe". So is it any surprise that the centerpiece of his 1985 comedy album and special titled New Jersey would be another favorite son. https://youtu.be/otfMyWmkWfY?si=WQQwWhZzmDwToUSh Sorry for the rough picture quality, but we had to throw in a little bonus this week -- an extended cut of Joe as Sinatra absolutely wrecking rock songs including Under My Thumb. You'll never hear it the Rolling Stones way again. https://youtu.be/U3-2Z2rmG0w?si=MYrFx2hnvRZVg5Ai  

Mit "Aftermath" gelang The Rolling Stones endgültig der musikalische Durchbruch. Es ist das erste Album der Stones, das durchgängig vom Songwriter-Duo Mick Jagger und Keith Richards geschrieben wurde. Mick Jagger höchstpersönlich hat "Aftermath" in einem Rolling Stone-Interview von 1995 in den Meilenstein-Rang erhoben: "Für mich ist Aftermath ein Meilenstein, der endlich den Spuk beendete, der darin bestand, dass wir diese sehr schönen und zweifellos interessanten, aber eben doch Coverversionen von alten RnB Songs machen mussten — denen wir, um ehrlich zu sein — nicht wirklich gerecht wurden." Entstehungsgeschichte von "Aftermath" The Rolling Stones waren 1965 schon sehr populär mit internationalen Hits wie "The Last Time" oder "Satisfaction", als sie von dem amerikanischen Geschäftsmann Allen Klein entdeckt wurden, der sie dann in den USA vertreten hat. Während ihrer vierten Tour durch Nordamerika 1965 haben Mick Jagger und Keith Richards den Großteil der Songs für das Album zusammen geschrieben. Die Handschrift der beiden ist unverkennbar. Musikalisch ist "Aftermath" eine bunte Wundertüte, was vor allem an Brian Jones liegt, der mit seinem Faible für exotische Instrumente und seiner Experimentierfreudigkeit neue Frische in den Sound der Stones gebracht hat. Jones war von Anfang an derjenige, der die Stones gegründet hat, er hat ihnen den Namen gegeben und im Grunde auch die Musiker zusammengebracht, aber war nie ein Songwriter, was ihn zeitlebens geärgert hat. Dies führte auch während der Aufnahmen zu Spannungen innerhalb der Band. Aufgenommen wurde die Platte in kürzester Zeit in Los Angeles in den RCA Studios in Hollywood, direkt nach dem Tourende im Dezember und dann noch einmal im März 1966 innerhalb von 7 Tagen. Es wurde viel improvisiert, Ton Ingenieur Dave Hassinger hat den Stones innerhalb der Sessions freie Hand gelassen. Von "Could You Walk On The Water" zu "Aftermath" Ursprünglich war die Musik als Soundtrack für den Film "Back, Behind and In Front" von Nicholas Ray gedacht, aber Mick Jagger kam mit dem Regisseur nicht klar, sodass dieser ursprüngliche Plan verworfen wurde. Außerdem gab es eine Kontroverse über den Titel des Albums, Manager Andrew Oldham schlug vor die Platte "Could You Walk On The Water" zu nennen, was von der amerikanischen Plattenfirma für die Christen in den USA als blasphemisch empfunden wurde. So kam es zu dem Titel "Aftermath", also "Nachwirkungen", geeinigt. Es gibt zwei unterschiedliche Versionen des Albums, eine UK- und eine US-Version und beide haben unterschiedliche Opener, da die Plattenfirmen gerne selbst die Platten an den lokalen bzw. internationalen Markt angepasst haben. Im Vereinigten Königreich und bei uns in Deutschland war das "Mother's Little Helper" und in den Vereinigten Staaten war es "Paint It Black". Europa hat sich musikalisch immer sehr nach England orientiert, daher gab es auch in Deutschland die britische Fassung. "Mother's Little Helper" "Mother's Little Helper" eröffnet die britische Version der Platte. Der Song handelt davon, dass sich Hausfrauen in den 60ern mit Valium und anderen Mitteln betäuben, um ihren Alltag zu überstehen. Damit sprachen die Stones ein gesellschaftskritisches Thema der westlichen Gesellschaft an und stellten es provokant dar.   "Paint It Black" — über die seelische Düsternis "Paint It Black" eröffnet die amerikanische Version des Albums. Der Song handelt von jemanden, der aus Trauer um einen verlorenen Menschen in Depressionen verfällt. Jagger beschreibt diese seelische Düsternis, da gibt kein Licht in diesem Song. Das gab es so vorher nicht in dieser Form und hatte dann sehr großen Einfluss — auch auf die Geschichte der Rockmusik. "Paint It Black" zeigt im Endeffekt das, was die Stones machen, vor allem, was sie damals auch ausgemacht hat. - SWR1 Musikredakteur Benjamin Brendebach Es ist bis heute einer der am häufigsten gecoverten Songs von den Stones, unter anderem von U2 1992. Auch in Filmen wurde "Paint It Black" oft verwendet, wie beispielsweise in "Die Mumie" 2017 oder auch im Thriller "Im Auftrag des Teufels" 1997 sowie in diversen Videospielen.   Der Song ist ein Kulturerbe! - SWR1 Musikredakteur Frank König "Paint It Black" ist für mich als sehr viel spätere Generation definitiv auch eine Art Zeit-Dokument aus den 60er Jahren. - SWR1 Musikredakteurin Nina Waßmundt Das Vermächtnis von "Aftermath" Über das Vermächtnis von "Aftermath", die Verbindung zwischen den Rolling Stones und den Beatles, die gegensätzlicher als das künstlich aufgebaute Image nicht sein konnte, Frauenfeindlichkeit im Rockbusiness im Hinblick auf die Geschehnisse im Sommer 2023 und noch viel mehr, wird im Podcast anlässlich des 80. Geburtstages von Mick Jagger gesprochen. Über diese Songs vom Album "Aftermath" wird im Podcast gesprochen: 03:04 Mins – "Paint It Black" 03:15 Mins – "Stupid Girl" 03:36 Mins – "High And Dry" 07:07 Mins – "Satisfaction" 15:15 Mins – "Mother's Little Helper" 23:14 Mins – "Paint It Black" 32:14 Mins – "Under My Thumb" 55:36 Mins – "Lady Jane" 01:01:20 Mins – "Going Home" __________ Über diese Songs wird außerdem im Podcast gesprochen: 06:21 Mins – "Norwegian Wood" von Beatles 26:21 Mins – "Heart Full Of Soul" von Yardbirds 27:12 Mins – "See My Friends" von The Kinks 27:37 Mins – "Norwegian Wood" von Beatles 31:33 Mins – "Paint It Black" von Ciara 48:14 Mins – "Under My Thumb" von Susanna Hoff __________ Links zum Podcast:Aftermath bei UDiscover Music https://www.udiscovermusic.com/stories/the-rolling-stones-aftermath-album/ Aftermath bei Clashmusic https://www.clashmusic.com/features/classic-album-the-rolling-stones-aftermath/ Mick Jagger Interview im Rolling Stone https://web.archive.org/web/20101109042438/http://www.jannswenner.com/Archives/Jagger_Remembers.aspx Buchtipp: Sympathy For The Devil Die Geburt der Rolling Stones und der Tod von Brian Jones http://www.hannibal-verlag.de/cgi-bin/WebObjects/TXTSVHannibal2.woa/640/wo/0o2nkdkrkvwo2GDj0mEBQaexRjA/1.0.SuperPage.11.1.5.1.1.11.1.3.1.0.BoxArticleSmall.1.1.0 1965 Die Rolling Stones landen in Berlin https://www.ardmediathek.de/video/rbb-retro-berliner-abendschau/ankunft-der-rolling-stones-in-berlin/rbb-fernsehen/Y3JpZDovL3JiYi1vbmxpbmUuZGUvYmVybGluZXItYWJlbmRzY2hhdS8xOTY1LTA5LTE1VDE5OjMwOjAwXzZmZjkzMzBhLTQ1NGEtNDI4ZC05MTRmLWUxYTA3MTM4MjdmMC9yZXRyb18xOTY1MDkxNV9Sb2xsaW5nLVN0b25lcw 1965 Die zerstörte Berliner Waldbühne nach dem Rolling Stones Konzert https://www.ardmediathek.de/video/rbb-retro-berliner-abendschau/zerstoerte-waldbuehne-nach-rolling-stones-konzert/rbb-fernsehen/Y3JpZDovL3JiYi1vbmxpbmUuZGUvYmVybGluZXItYWJlbmRzY2hhdS8xOTY1LTA5LTE2VDE5OjMwOjAwX2M3ZTNhNTY4LTQ4NzYtNGMwMy05ZDkwLTk2ZTk1NTc3NjYyYy9yZXRyb18xOTY1MDkxNl9XYWxkYnVlaG5l Doku auf ARTE: The Rolling Stones – Crossfire Hurricane https://www.ardmediathek.de/video/arte/the-rolling-stones-crossfire-hurricane/arte/Y3JpZDovL2FydGUudHYvdmlkZW9zLzA0NzgzNi0wMDAtQQ __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Mikey chats with Bob Katz, the owner of My Grandma's Coffee Cake, about the amazing history of the company and Bob offers a deal for listeners of the show. Mikey is concerned for the young women of Italy. Mikey warns citizens about the deadliest cars in America. Castiglioke has her Under My Thumb. 15 Minutes of Shame has advice for travelers to Yellowstone. Learn more about your ad choices. Visit megaphone.fm/adchoices

Grateful Dead and Bob Dylan, July 10, 1987, JFK Stadium, Philadelphia, PAhttps://archive.org/details/gd87-07-10.senn.lai.3859.sbeok.shnf/gd87-07-10d1t108.shnDead played first set.Dylan backed by Dead played second setJFK big old concrete stadium in Philly.  Opened on April 15, 1926.  Hosted the Army Navy football game for many years.  Last live performance of any kind was Dead on July 7, 1989 with Bruce Hornsby and the Range opening.  Stadium was literally falling apart with dangerous chemicals exposed as well as electrical wiring.  Only reason they allowed the show to be played was because by the time the city inspector realized what was going on, stadium was already full of Deadheads.  Supposedly, there was a very strict no smoking policy enforced because of the hazards.  I'm guessing Deadhead's found a way to catch their buzz during the who.  Final tune:  Knocking on Heaven's Door.  Very appropriate.  On September 23, 1992 the stadium was finally demolished.I was only there once, in September 1981 for the opening show of the Rolling Stones Start Me Up tour.  Went with good buddies H, Mills and Lieby thanks to Uncle Dave.  George Thorogood and the Delaware Destroyers opened (One Bourbon, One Shot and One Beer), then Journey for maybe 45 minutes.  Fans got bored and started booing.  Finally the Stones – opened with Under My Thumb, they released balloons and well into the show H was convinced he could still see one or two of them.  Could have just been the shrooms we (most of us) were trying out for the first time.  Still almost a year before my first Dead show.  But psychedelics seemed very appropriate for a Stones shows made this one very memorable.INTRO:                             I Need a Miracle                                         Track No. 13                                         1:45-2:50                                         Mostly featuring the stuff with Dylan but wanted to get one Dead song in and this is an exceptionally great version of this song.  “Go right through the book and break each and every law” – another great Barlow lyric.  Was released as part of Shakedown Street (Nov. 15, 1978).  Always a high energy tune and maybe the highlight of the Dead's lone set.Dylan – set II with Dead backingSHOW #1:                        Tangled Up In Blue                                         Track No. 17                                         :20 – 1:36                                         From:  Blood on the Tracks                                         Released:  January 20, 1975                           This may be everyone's favorite Dylan tune.  Jerry loved it, a staple of the JGB, usually played as a set closer.  I love it here as the opener of the Dead's set with Dylan, a well known tune, Jerry jamming hard, and Dylan feeling the energy, love those excited vocals.  Sounds like he's have a great time.  Ok, Dylan's voice is not great BUT, it is much better than it is now AND it's the DEAD backing him (it was one thing to hear Jerry play it, but not often that the Dead played the tune!  Took a minute or two to adapt to that set up.  Start off strong, get everyone comfortable and fire up the crowd.  Mixed feelings in the crowd because folks realized Dead were only playing one set, but Dead were backing Dylan, and Dylan's voice may suck, but with the Dead the songs sound fresh and lively in a manner not normally seen at your standard Dylan show (except when he had Larry Campbell playing with him – he rocked too).SHOW #2:                        I'll  Be Your Baby Tonight                                         Track No. 18                                         0:00 – 1:14                                         From: John Wesley Harding                                         December 27, 1967                           Not necessarily my favorite Dylan tune, but anytime Jerry plays pedal steel it's worth noting and listening to.  The crowed realizes it and goes crazy.  I never got to see Jerry play that instrument and understand I missed something special.  So go back and listen to this tune again and focus on the pedal steel.  Well worth it. SHOW #3:                        Joey                                         Track No. 27                                         :38 – 1:52                                         From:  Desire                                         Released:  January 5, 1976                           "Joey" is an epic story-song from Bob Dylan's 1976 album Desire. It was written by Dylan and Jacques Levy, who collaborated with Dylan on most of the songs on the album. Like another long song on the album, "Hurricane", "Joey" is biographical. It tells the story of the life and death of mobster Joey Gallo, who was killed on his birthday at Umberto's Clam House in Little Italy, on April 7, 1972.                         The song's legacy remains mixed: a USA Today article ranking "all of Bob Dylan's songs" called it "forgettable" and lamented that it had replaced "Abandoned Love" on Desire's final track list[10] but in a readers' poll conducted by Mojo, "Joey" was rated the 74th most popular Bob Dylan song of all time.[11]Jerry Garcia, who was responsible for getting Dylan to start performing it live in 1987, considered it a "great song"[12] and Dylan himself characterized it as "Homeric" when discussing his Nobel Prize in Literature win with Edna Gundersen in 2016.[13] Critic Paul Zollo, writing in American Songwriter magazine, called it a "beautifully detailed and cinematic" song and a "masterpiece" in 2021.[14]                                    I started listening to it when they released the Dylan And The Dead album released February 6, 1989 featuring songs from this July, 1987 tour.                                                                                         :::SHOW #4:                        Watchtower                                         Track No. 28                                         1:56 – 3:26                                         From:  John Wesley Harding                                         December 27, 1967                           A great tune that the Dead rocked to.  We've talked about this song before, but Bobby really took off with it once they started playing it (first performance was a month before this tour, June 10, 1987 at the Greek.  Then played up until June 22, 1995 at the Knickerbocker Arena in Albany.  Great to hear the Dead rock it hard for Dylan. Interestingly, the show's encore was Touch of Grey which had not yet been officially released but was on In The Dark on July 6, 1987.  So four days before this show.  The Deadheads already knew it well – Dead started playing it in concert towards the very end of 1982.  I first heard it in April 1983 in Morgantown WV.  Not yet well known to the general public so no crazy crowd problems but they were just around the corner.All in all, a fun show.  Some good Dead.  Lots of good Dylan.  And a fun collaboration for the Deadheads.OUTRO:                           U. S. Blues                                         Goose                                         July 4, 2023                                         Stone Pony Summer Stage                                         Asbury Park, N.J. (The Boss's “home”)                                         Goose - US Blues 7/4/23 Stone Pony - Asbury Park, NJ - YouTube                                         O:00 – 1:10                            First time played by Goose.  Solid performance, but a little too close to the vest for me  But with time, I have no doubt they can make it their own.  And credit for covering the Dead.  Not many bands will do that, ahem, “calling Phish?”  So this is two weeks in a row ending with this tune, but this is the one Goose covered (on the 4th after all) so this is what we get.  All in all, not a bad deal.                                                                                          NEWS:On July 10, 1986, Jerry slipped into Diabetic Coma.  As a result, the Dead had to cancel two shows scheduled for the Fox Theater in St. Louis later in the month.  I was devasted to hear the news about Jerry, we all wondered if this was it.  And I was bummed to miss the Fox Theater shows.  As we have discussed, in the late ‘60's and early ‘70's it was one of the Dead's favorite theaters to play, but they had not played there since 1972.  Folks out of town for the weekend, lots of friends and Deadheads all coming to St. Louis for the shows.  I had never seen the Dead in St. Louis and ultimately, did not until July, 1995 at the very end. And I had second row, orchestra, center – best seats I ever received from mail order. Then Jerry got sick and that was that.  Ultimately, Jerry survived, relearned the guitar and all the Dead songs and by December 15th he was back.  Very amazing. July 3, 2023Dead & Co at Folsom Field.  Dave Matthews joins at the end of the second set for Watchtower/Not Fade/Knocking on Heaven's Door/The Weight.  Great drones creating cool visuals like the Steal Your Face logo.  Got good reports from Alex and Andy – she is EVERYWHERE these days!  Dead & Co. down to the Gorge (just played this last weekend)  and then July 14, 15 and 16 at Oracle Park in S. F. (Giants' home stadium).  Then, ??????????????? July 2, 2023 – my first Les Claypool and Frog Brigade show at the Salt Shed in Chicago.  Went with good buddy Rob.  Very impressed with the band  - when the show opens with a cover of King Crimson's Thela Hun Ginjeet – you know it's going to be a good night.  Their songs after that were solid and everyone was very much enjoying the scene and that was before they blew us away with their cover of the Pink Floyd album, Animals (Jan. 21, 1977).  Entire album start to finish.  Then some more Frog Brigade and a fun night for all.  I will be back to see Frog Brigade and Primus (and Oysterhead – we should all be so lucky) MJ news to follow

Does it get any worse than Brown Sugar? You be the judge! Marc and Seth pick apart another Rolling Stones song and this time, they're excusing and glorifying treating a woman like shit with the non-single Under My Thumb.

Esse é o AutoRadio Podcast. AutoHistoria 011 - Nino Farina Powered by Wisdomtech http://www.wisdomtech.com.br

The Metals, Money, and Markets Weekly Jan. 27, 2023: Under My Thumb

Episode 1815: Our article of the day is Under My Thumb.

Er war der geniale Soundtüftler der Rolling Stones - bis ihm alles über den Kopf wuchs. Brian Jones prägte in den 60ern den Sound der Rolling Stones enorm - im Studio war er zu erstaunlichen Leistungen fähig. Allerdings hatte er auch eine dunkle Seite, die ihm schließlich zum Verhängnis wurde... ++++++++++Song-Tipps zur Folge++++++++++ "200 Light Years From Home", "She's a Rainbow", "Lady Jane", "Let's Spend The Night Together", "Dandelion", "Paint It Black", "Under My Thumb", "Get Off Of My Cloud", "No Expectations"

Piping hot topics fondly booted round the park this week include … are any actors ever convincing when playing a famous rock star? Does it matter if movies “based on a true story” are largely fiction? Why David's never got on with Love's Forever Changes. Did Entertainment Weekly exist just to provide a pleasant lifestyle for the people who worked on it? Plus … the connection between Captain Beefheart and blue cheese, Eddie Izzard's drilling cats, memorable art theft, tambourine players in rock and another great story about ‘Under My Thumb' being played at a wedding reception. And birthday-partying patrons David Carroll and Adrian Ainsworth put their questions to the panel and flag up Japan and ‘Strange Kind of Love' by Love And Money.  Baz Luhrmann's Elvis …https://youtu.be/OWi2lFLe4Cg Inventing Anna …https://youtu.be/65xa8TG2G8oThe Duke …https://youtu.be/65xa8TG2G8oSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Piping hot topics fondly booted round the park this week include … are any actors ever convincing when playing a famous rock star? Does it matter if movies “based on a true story” are largely fiction? Why David's never got on with Love's Forever Changes. Did Entertainment Weekly exist just to provide a pleasant lifestyle for the people who worked on it? Plus … the connection between Captain Beefheart and blue cheese, Eddie Izzard's drilling cats, memorable art theft, tambourine players in rock and another great story about ‘Under My Thumb' being played at a wedding reception. And birthday-partying patrons David Carroll and Adrian Ainsworth put their questions to the panel and flag up Japan and ‘Strange Kind of Love' by Love And Money.  Baz Luhrmann's Elvis …https://youtu.be/OWi2lFLe4Cg Inventing Anna …https://youtu.be/65xa8TG2G8oThe Duke …https://youtu.be/65xa8TG2G8oSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Piping hot topics fondly booted round the park this week include … are any actors ever convincing when playing a famous rock star? Does it matter if movies “based on a true story” are largely fiction? Why David's never got on with Love's Forever Changes. Did Entertainment Weekly exist just to provide a pleasant lifestyle for the people who worked on it? Plus … the connection between Captain Beefheart and blue cheese, Eddie Izzard's drilling cats, memorable art theft, tambourine players in rock and another great story about ‘Under My Thumb' being played at a wedding reception. And birthday-partying patrons David Carroll and Adrian Ainsworth put their questions to the panel and flag up Japan and ‘Strange Kind of Love' by Love And Money.  Baz Luhrmann's Elvis …https://youtu.be/OWi2lFLe4Cg Inventing Anna …https://youtu.be/65xa8TG2G8oThe Duke …https://youtu.be/65xa8TG2G8oSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

After the passing of Charlie Watts, Karina and Raf (and almost every touring band in America) are celebrating the glory of The Rolling Stones. [Sponsored by 'Layla Revisited: Live at LOCKN' and Andy Frasco / Recorded on Aug. 30, 2021, Send your messages to RafandKarina@gmail.com]

今晚的节目将为听众朋友们分享我们非常喜爱的英国吉他大师Eric Clapton早期成立的第五支乐队，Blind faith 盲目信仰乐队。开篇曲1.Crossroads (Live:UCLA Pavley Pavilion 26 Aug 1969)十字路口（加州大学洛杉矶分校现场1969年8月26日）6:20喜欢布鲁斯音乐的听众肯定都听出来了：这是Eric Clapton非常崇拜的一位根源布鲁斯大师Robert Johnson的经典名曲Crossroads十字路口。这个现场版本来自于Eric Clapton和他的盲目信仰乐队于1969年8月26日在加州大学洛杉矶分校的现场演出。Eric Clapton的乐迷都知道后来他在美国创建的毒品和酒精治疗中心和三年一度的吉他音乐节也是用他的偶像Robert Johnson这首Crossroads的名字命名的。节目分三个部分，第一部分首先介绍这支超级摇滚乐队Blind faith 盲目信仰1969年，Eric Clapton与鼓手Ginger Baker，贝斯手Rick Grech以及Traffic乐队的Steve Winwood组建了一支被称为“超级摇滚乐团”的Blind Faith盲目信仰乐队。这是Eric Clapton早年参加过的第五个乐队，分别是：The Roosters公鸡乐队 、 The Yardbirds新兵乐队、 Bluesbreakers布鲁斯破坏者乐队 、Cream奶油乐队、Blind Faith盲目信仰乐队 。1970年组建了最后一支Derek & the Dominos迪里克与多米诺乐队后开始单飞。1969年6月7日Blind Faith在伦敦著名的海德公园举行了第一场露天演唱会，凭借EricClapton的强大号召力以及前Cream和Traffic乐队的成员班底，Blind Faith这场演出吸引了近十二万名歌迷前往现场观看，成为英国摇滚历史上的一场传奇演出。先分享一首1969年有12万乐迷齐聚的海德公园演出开篇曲:1969年6月7日的海德公园演出，盲目信仰乐队开场就翻唱了一首年轻的Eric Clapton非常欣赏的美国摇滚歌星巴迪•霍利的《Well All Right》，开始了一场奇妙的迷幻摇滚乐之旅。2.《INTRO/Well All Right》(Live: Hyde Park, London 7th June 1969) 7：521968 年中期，Cream 乐队尽管已售出数百万张唱片，并让英、美观众们惊叹不已，但乐队成员很早就处于一种混乱的分裂状态。随着1968年《Disraeli Gears》迪斯雷利齿轮专辑的成功问世，奶油乐队也逐步的走向瓦解。乐队成员之间关系越来越紧张，他们不再谈创作，相互不再倾听和沟通。其实从乐队的作品中，你能听到一种紧张感和莫名的负能量。当时Eric Clapton已经厌倦了聚光灯和马不停蹄的巡演，他希望能静下来做一些类似The Band乐队的音乐。Blind Faith名字，源于Eric Clapton想在英国组建一支自己欣赏的类似The Band那种可以创作出非常具有音乐性的乐队。在美国巡演的Eric Clapton经常给他的好友SteveWinwood打电话诉说乐队的状况，其实奶油乐队组建之前Eric Clapton就提议过让年轻的Steve Winwood加入。Steve Winwood的出现标志着Blind faith即将开启的新篇章。此时的Steve Winwood刚刚退出“交通”乐队，在SteveWinwood家里, Eric Clapton演奏了为新家“赫特伍德”创作的歌曲《Presence of the lord》 与上帝同在 。Eric Clapton在奶油时期购置了第一处属于自己的房产“赫特伍德”，房子到乔治的“金芳斯”只有半个小时车程，自此他与George Harrison成为了邻居。上次和B哥和有待老师那期The Beathles 节目也分享过George的《Here comes the sun》就是在“赫特伍德”的花园里创作的。3.Presence Of TheLord (Live: Hyde Park, London 7th June 1969) 6：28在Steve Winwood家里, Eric Clapton两人萌发了一起组乐队的想法，随后戏剧性的一幕出现了，奶油的鼓手Ginger Baker闻风而来！Ginger Baker 和 Eric Clapton 既是最好的朋友，也是两个性格迥异的人，当时他们经常以错误的方式互相摩擦关系莫名的奇妙。虽然Eric Clapton对奶油乐队时期的紧张关系心有余悸，不愿意恢复与这位才华横溢但脾气暴躁的鼓手的伙伴关系，但他实在不忍心将这位具有才华的爆裂鼓手拒之门外，金哥的出现在事实上加快了乐队的成型。Eric Clapton推荐了一位出生于法国的贝斯手Rick Grech，听说他的低音演奏在摇滚乐界具有传奇色彩，而且他把小提琴和相关弦乐器的演奏技法曾带到乐队。Steve Winwood和金哥都搬进了Eric Clapton的新家 “赫特伍德”，并在客厅布置了排练设备，形成了半个录音棚，这就是那个年代最初的Home Studio。很快媒体曝光了Eric Clapton、 Steve Winwood 和Ginger Baker组乐队的消息，并在当时赋予了“超级乐队”的期待。下面介绍节目的第二部分Blind faith在1969年著名的海德公园12万人现场。1969年6月7日，一个周六的下午，Eric Clapton的新乐队Blind faith在伦敦海德公园约 12 万观众面前举行了首场演出。尽管在一个非常炎热的日子，有 12 万人来到了现场。这场免费演唱会是由一个叫布莱克希尔的企业组织的，听说Blind faith演唱会是 1969 年四场音乐会中的第一场。这支新的“超级组”在下午 5 点左右走上舞台，以一首刚才播放过的巴迪•霍利《Well All Right》开始了他们的演出，然后乐队开始表演他们首张专辑里的曲目。当年，这是第一支英国摇滚乐队被批准在伦敦的海德公园演出，但当时英国媒体几乎没有报道，流行媒体也没有太多关注这件事。听说这场摇滚乐演出几经波折，历经过俩仨次的申请才最终被批准下来，而且是免费的，海德公园的第一场摇滚乐演出就聚集了10万人+的规模。分享一首海德公园1969现场的最后一首4.《Hard to cry Today/OUTRO 》(Live: Hyde Park,London 7th June 1969) 7：39Eric Clapton一直在做一些惊人的事情，据Eric Clapton回忆说；“这场演出并不理想，当我走下舞台时像一片叶子一样颤抖，因为我觉得，我再一次会让人们失望。”表演的舞台在外观上有些简陋，只有一米高左右。金哥比较槽糕的状态以及现场的扩声系统明显无法应对海德公园这种大型的户外演出。人群中有滚石乐队的米克·贾格尔和他的女友玛丽安·费斯菲。米克也决定在海德公园举办一场免费音乐会，宣传滚石乐队的新单曲，让他们重新回到公众的视线，这对经历了低潮期的乐队来说是再合适不过的事情了。为了向站在舞台侧面观看的米克致意，盲目信仰乐队还专门演奏了滚石乐队的作品“在我的控制下《Under My Thumb》”。几天后，米克·贾格尔告诉《旋律制造者》“我觉得他们人很好。我就在舞台的后面，看不见他们，但我觉得他们不知怎么的非常紧张。金哥很棒，他是个神奇的鼓手——我所听过的最好的鼓手。”1969年7月12日乐队开始美国的巡演，首场演出是在Eric Clapton非常喜欢的纽约麦迪逊广场花园，乐队也不用大力宣传，奶油和交通乐队的大咖Eric Clapton、Ginger Baker和Steve Winwood奠定了这支新组乐队的乐迷基础。虽然这支乐队成为了1969年末期除了披头士乐队之外在美国最受欢迎的英国乐队之一，遗憾的是巡演过后，这支组建半年不到的乐队只留下唯一的一张专辑就解散了。（1969年5月成立，同年11月解散）解散的主要原因是Eric Clapton迷恋上当时的暖场乐队“德莱尼与邦妮”，这是一群来自美国南方的音乐家，不仅能弹奏出极其强悍的声音，而且表演时散发出绝对的自信。这支乐队的出现同时奠定了Eric Clapton的另一支经典乐队“德里克与多米诺”的诞生。这位酷爱布鲁斯摇滚乐的吉他手，厌倦了长期的巡演和聚光灯下大篇幅的吉他solo，Eric Clapton开始喜欢THE BAND乐队的作品和美国的南方音乐。这标志着Eric Clapton从一位乐队的主音吉他手开始向创作型的唱、作人转变。节目第三部分介绍乐队的一张，也是唯一的一张经典专辑《Blind Faith》。1969年春天，才华横溢年轻的吉米米勒作为制作人开始为乐队录制第一张也是唯一一张唱片《BlindFaith》。我收藏了一盒1969年7月1日美国发行的磁带，这也是摇滚音乐史上存在不足半年的“Blind Faith”乐队发行的唯一一张专辑，唱片一经发行就登上了美国排行榜榜首。提到这张专辑，必须隆重介绍下唱片的封面故事。这张专辑封面选用了一位年轻的半裸体女孩的形象设计。专辑在英国发行后，裸女封面招致了强烈的抗议，人们说那个女孩的形象被表现的太色情了，美国的唱片经销商竟威胁要抵制这张唱片。Eric Clapton自传提到了这段，由于乐队马上开始大规模的美国巡演，所以再版的唱片只好换上了一张乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片了事。我今天带来了两张黑胶唱片，手里拿的这张是乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片做封面的唱片，是首版被抵制后再版。5.《Sea of joy》，由SteveWinwood创作的。5：23选择封面的女主角时，在年纪设定上并没有马虎。考量年龄再大点，看起来会像性感海报女郎。年纪再小一点，也会显得微不足道，因此要求从小女孩过渡到女人的中间阶段。摄影师Bob Seidemann认为唯有该时期能够散发全然耀眼的纯真光芒。摄制组在伦敦地铁面试到一名14岁少女，也与她的父母会谈过，不过拍摄效果还是太成熟了，因此改由她当时11岁的妹妹Mariora Goschen上阵。可爱的Mariora一开始要求以一匹小马作为报酬，最后还是收下比较实际的40英镑。这是一张艺术处理后的相片，画面上是一位长着红色卷发的青春期女孩，景取在她腰部以上，半裸的女孩手持一只非常现代主义的银色模型飞机，它来自Eric Clapton的朋友，宝石匠米科•米利甘的设计；女孩的身后是如伯克夏丘陵般的翠绿山野，再远处是湛蓝的天空和白色的云朵。Eric Clapton立刻就喜欢上了这个设计概念，因为他觉得它准确地捕捉到了“BlindFaith”乐队名字的含义。女孩代表的天真无邪与飞机象征的经历、科学、未来并存。当时Eric Clapton认为这张精彩的封套图片加上乐队的名字会破坏原有的效果，于是摄影师想出一个主意，把乐队的名字写在包装纸上，去掉包装后就会是这张原封不动的图片。6.《Can't find my way home》3：18专辑封面女主如今已过花甲之年，而这张历经半个多世纪的美国首版发行的唱片也因一度被禁而充满传奇色彩和收藏价值。我这张1969年美国首版的黑胶唱片收藏于宝岛台湾，收藏价2000台币，当时老板娘也不懂这张黑胶唱片封面的故事，她说因为进价蛮高的所以售价也相对高一些。这几年一直无人问津最后被我这位来自北京的行家收了，觉得特别有意义。这张唱片品相还是不错的，因为是二手的，所以早就拆开了没有了那张曾写着乐队名字的包装纸，遗憾的是，至今都从未见过那张带有乐队名字的包装纸。简单介绍下这张专辑的曲目1969 年 8 月,由Jimmy Miller担任制作人发行的专辑《Blind Faith》 将乐队成员的作品排列在一张六轨 LP 中。专辑中《Sea of joy》、《Can't find my way home》都是Steve Winwood创作的。《Can't find my way home》经常被1974年Eric Clapton 录制《海洋大道461》专辑时期的乐队女歌手伊冯娜翻唱，头几年热播的美剧《This is us》 也选用过这首歌。 7.《Can't find my way home》Eric Clapton伊冯娜5:181975年8月1日发行 EC Was HereEric Clapton创作了《Presence of the Lord》，关于这首歌还有个趣闻，就是Eric Clapton总打断Steve并指导他如何演绎这首歌，Steve Winwood烦了直接怼过去，你别再告诉我怎么唱，这首歌既然是你写的，你自己唱好了。8.《Presence of the Lord》 Eric Clapton 6:43很多乐迷朋友对这支成立半年不足就解散的Blind Faith乐队并没有特别关注，也是因为很多人觉得主唱兼键盘手Steve Winwood的唱法一点都不摇滚。但这完全没有影响乐队录制的唯一一张专辑在英国和美国名列前茅的成绩。因为它是在特别短的时间里制作的，因此被认为是一种奇异的经典。然而，事后看来，Blind Faith 专辑值得重新发现和重新评估。乐团中的几位天才人物保证了这张专辑的音乐水准，在 1960 年代即将结束的动荡时期，Blind Faith 的布鲁斯摇滚融合了 Cream 和 Traffic两个乐队的声音，成为英国摇滚音乐史上的一个重要里程碑。分享下这张专辑的乐评部分；专辑的开场白，冗长的《Hard to cry Today》由SteveWinwood精心设计，展示了乐队四位成员的音乐智慧。乐队翻唱了一首巴迪·霍利的《Well All Right》，探索了更奇妙的迷幻摇滚乐之旅，这绝对是1969年时代的一首重要歌曲。Eric Clapton的《Presence of the Lord》以缓慢燃烧的强烈蓝调结束了专辑的第一面，在海德公园演出时这首歌成为了现场拍摄的一大亮点。这张唱片准备仓促， B Side 只收录了两首歌曲：第一首SteveWinwood的《Sea of Joy 》在结构上有明显的交通乐队感觉；第二首是Ginger Baker长达15分钟的作品《Do What You Like》，充满了独奏和即兴的探索性。9.《Do What You Like》15：18Winwood回到"Traffic"乐队呆了5年，然后成功单飞。Clapton则为自己找到了定位，凭借无数上榜专辑和单曲作品主宰了整个70、80甚至90年代。尽管两位老友多年来始终保持着朋友关系，但直到2008年2月，"BlindFaith"成立近40年之后，Winwood和Clapton才再次聚首。2008年2月25日到28日，盲目信仰乐队解散近40年后，EricClapton与Steve Winwood重聚在美国麦迪逊广场花园，举办了三场可以说是场场爆满的演出，无数的乐迷都亲临现场来见证这个历史性的重聚。2008年2月在美国纽约麦迪逊广场花园举行的这唱聚会演出与1969年在英国伦敦海德公园的演出同样充满着新鲜感与活力，在音乐上非常具有挑战性。两位花甲之年的音乐家为他们的乐迷上演了一场伟大的演出，百分百呈现了他们的音乐天赋。有幸的是，这场伟大的重聚演出后来陆续有影、音资料面世。如果你是一位布鲁斯摇滚歌迷，肯定不会错过这场对布鲁斯摇滚乐的探索。节目最后播放一首我个人非常喜欢的2008年5月25日美国麦迪逊广场花园现场经典10.Double Trouble(Live from Madison Square Garden)当晚Clapton的状态是有多好啊，Amazing布鲁斯旋律真是汹涌澎湃，倾泻而出。每次听都觉悲从中来不可断绝。。。所有的杯桑，伴着老克的吉他倾泻而下……沧桑道尽…老克永远是我的精神安慰这首歌的最佳版本，后半段的solo简直要逆天这个版本完胜武道馆的两个版本还有crossroad的版本盲目信仰乐队解散50周年的2019年，Eric Clapton与Steve Winwood重聚在伦敦的海德公园。Ginger Baker没有去，不知道是不是因为身体原因。我的一位好朋友宋渐渐还买了一张票，她还说Ginger Baker发了FACEBOOK预祝这场演出顺利。如今，我们敬畏的一代鼓王Ginger Baker已辞世，为这个世界留下许多传世经典。节目最后，再次向大师致敬。感谢您的聆听，下期节目见。结束曲：Hadto Cry Today (Live from Madison Square Garden)7：47

今晚的节目将为听众朋友们分享我们非常喜爱的英国吉他大师Eric Clapton早期成立的第五支乐队，Blind faith 盲目信仰乐队。开篇曲1.Crossroads (Live:UCLA Pavley Pavilion 26 Aug 1969)十字路口（加州大学洛杉矶分校现场1969年8月26日）6:20喜欢布鲁斯音乐的听众肯定都听出来了：这是Eric Clapton非常崇拜的一位根源布鲁斯大师Robert Johnson的经典名曲Crossroads十字路口。这个现场版本来自于Eric Clapton和他的盲目信仰乐队于1969年8月26日在加州大学洛杉矶分校的现场演出。Eric Clapton的乐迷都知道后来他在美国创建的毒品和酒精治疗中心和三年一度的吉他音乐节也是用他的偶像Robert Johnson这首Crossroads的名字命名的。节目分三个部分，第一部分首先介绍这支超级摇滚乐队Blind faith 盲目信仰1969年，Eric Clapton与鼓手Ginger Baker，贝斯手Rick Grech以及Traffic乐队的Steve Winwood组建了一支被称为“超级摇滚乐团”的Blind Faith盲目信仰乐队。这是Eric Clapton早年参加过的第五个乐队，分别是：The Roosters公鸡乐队 、 The Yardbirds新兵乐队、 Bluesbreakers布鲁斯破坏者乐队 、Cream奶油乐队、Blind Faith盲目信仰乐队 。1970年组建了最后一支Derek & the Dominos迪里克与多米诺乐队后开始单飞。1969年6月7日Blind Faith在伦敦著名的海德公园举行了第一场露天演唱会，凭借EricClapton的强大号召力以及前Cream和Traffic乐队的成员班底，Blind Faith这场演出吸引了近十二万名歌迷前往现场观看，成为英国摇滚历史上的一场传奇演出。先分享一首1969年有12万乐迷齐聚的海德公园演出开篇曲:1969年6月7日的海德公园演出，盲目信仰乐队开场就翻唱了一首年轻的Eric Clapton非常欣赏的美国摇滚歌星巴迪•霍利的《Well All Right》，开始了一场奇妙的迷幻摇滚乐之旅。2.《INTRO/Well All Right》(Live: Hyde Park, London 7th June 1969) 7：521968 年中期，Cream 乐队尽管已售出数百万张唱片，并让英、美观众们惊叹不已，但乐队成员很早就处于一种混乱的分裂状态。随着1968年《Disraeli Gears》迪斯雷利齿轮专辑的成功问世，奶油乐队也逐步的走向瓦解。乐队成员之间关系越来越紧张，他们不再谈创作，相互不再倾听和沟通。其实从乐队的作品中，你能听到一种紧张感和莫名的负能量。当时Eric Clapton已经厌倦了聚光灯和马不停蹄的巡演，他希望能静下来做一些类似The Band乐队的音乐。Blind Faith名字，源于Eric Clapton想在英国组建一支自己欣赏的类似The Band那种可以创作出非常具有音乐性的乐队。在美国巡演的Eric Clapton经常给他的好友SteveWinwood打电话诉说乐队的状况，其实奶油乐队组建之前Eric Clapton就提议过让年轻的Steve Winwood加入。Steve Winwood的出现标志着Blind faith即将开启的新篇章。此时的Steve Winwood刚刚退出“交通”乐队，在SteveWinwood家里, Eric Clapton演奏了为新家“赫特伍德”创作的歌曲《Presence of the lord》 与上帝同在 。Eric Clapton在奶油时期购置了第一处属于自己的房产“赫特伍德”，房子到乔治的“金芳斯”只有半个小时车程，自此他与George Harrison成为了邻居。上次和B哥和有待老师那期The Beathles 节目也分享过George的《Here comes the sun》就是在“赫特伍德”的花园里创作的。3.Presence Of TheLord (Live: Hyde Park, London 7th June 1969) 6：28在Steve Winwood家里, Eric Clapton两人萌发了一起组乐队的想法，随后戏剧性的一幕出现了，奶油的鼓手Ginger Baker闻风而来！Ginger Baker 和 Eric Clapton 既是最好的朋友，也是两个性格迥异的人，当时他们经常以错误的方式互相摩擦关系莫名的奇妙。虽然Eric Clapton对奶油乐队时期的紧张关系心有余悸，不愿意恢复与这位才华横溢但脾气暴躁的鼓手的伙伴关系，但他实在不忍心将这位具有才华的爆裂鼓手拒之门外，金哥的出现在事实上加快了乐队的成型。Eric Clapton推荐了一位出生于法国的贝斯手Rick Grech，听说他的低音演奏在摇滚乐界具有传奇色彩，而且他把小提琴和相关弦乐器的演奏技法曾带到乐队。Steve Winwood和金哥都搬进了Eric Clapton的新家 “赫特伍德”，并在客厅布置了排练设备，形成了半个录音棚，这就是那个年代最初的Home Studio。很快媒体曝光了Eric Clapton、 Steve Winwood 和Ginger Baker组乐队的消息，并在当时赋予了“超级乐队”的期待。下面介绍节目的第二部分Blind faith在1969年著名的海德公园12万人现场。1969年6月7日，一个周六的下午，Eric Clapton的新乐队Blind faith在伦敦海德公园约 12 万观众面前举行了首场演出。尽管在一个非常炎热的日子，有 12 万人来到了现场。这场免费演唱会是由一个叫布莱克希尔的企业组织的，听说Blind faith演唱会是 1969 年四场音乐会中的第一场。这支新的“超级组”在下午 5 点左右走上舞台，以一首刚才播放过的巴迪•霍利《Well All Right》开始了他们的演出，然后乐队开始表演他们首张专辑里的曲目。当年，这是第一支英国摇滚乐队被批准在伦敦的海德公园演出，但当时英国媒体几乎没有报道，流行媒体也没有太多关注这件事。听说这场摇滚乐演出几经波折，历经过俩仨次的申请才最终被批准下来，而且是免费的，海德公园的第一场摇滚乐演出就聚集了10万人+的规模。分享一首海德公园1969现场的最后一首4.《Hard to cry Today/OUTRO 》(Live: Hyde Park,London 7th June 1969) 7：39Eric Clapton一直在做一些惊人的事情，据Eric Clapton回忆说；“这场演出并不理想，当我走下舞台时像一片叶子一样颤抖，因为我觉得，我再一次会让人们失望。”表演的舞台在外观上有些简陋，只有一米高左右。金哥比较槽糕的状态以及现场的扩声系统明显无法应对海德公园这种大型的户外演出。人群中有滚石乐队的米克·贾格尔和他的女友玛丽安·费斯菲。米克也决定在海德公园举办一场免费音乐会，宣传滚石乐队的新单曲，让他们重新回到公众的视线，这对经历了低潮期的乐队来说是再合适不过的事情了。为了向站在舞台侧面观看的米克致意，盲目信仰乐队还专门演奏了滚石乐队的作品“在我的控制下《Under My Thumb》”。几天后，米克·贾格尔告诉《旋律制造者》“我觉得他们人很好。我就在舞台的后面，看不见他们，但我觉得他们不知怎么的非常紧张。金哥很棒，他是个神奇的鼓手——我所听过的最好的鼓手。”1969年7月12日乐队开始美国的巡演，首场演出是在Eric Clapton非常喜欢的纽约麦迪逊广场花园，乐队也不用大力宣传，奶油和交通乐队的大咖Eric Clapton、Ginger Baker和Steve Winwood奠定了这支新组乐队的乐迷基础。虽然这支乐队成为了1969年末期除了披头士乐队之外在美国最受欢迎的英国乐队之一，遗憾的是巡演过后，这支组建半年不到的乐队只留下唯一的一张专辑就解散了。（1969年5月成立，同年11月解散）解散的主要原因是Eric Clapton迷恋上当时的暖场乐队“德莱尼与邦妮”，这是一群来自美国南方的音乐家，不仅能弹奏出极其强悍的声音，而且表演时散发出绝对的自信。这支乐队的出现同时奠定了Eric Clapton的另一支经典乐队“德里克与多米诺”的诞生。这位酷爱布鲁斯摇滚乐的吉他手，厌倦了长期的巡演和聚光灯下大篇幅的吉他solo，Eric Clapton开始喜欢THE BAND乐队的作品和美国的南方音乐。这标志着Eric Clapton从一位乐队的主音吉他手开始向创作型的唱、作人转变。节目第三部分介绍乐队的一张，也是唯一的一张经典专辑《Blind Faith》。1969年春天，才华横溢年轻的吉米米勒作为制作人开始为乐队录制第一张也是唯一一张唱片《BlindFaith》。我收藏了一盒1969年7月1日美国发行的磁带，这也是摇滚音乐史上存在不足半年的“Blind Faith”乐队发行的唯一一张专辑，唱片一经发行就登上了美国排行榜榜首。提到这张专辑，必须隆重介绍下唱片的封面故事。这张专辑封面选用了一位年轻的半裸体女孩的形象设计。专辑在英国发行后，裸女封面招致了强烈的抗议，人们说那个女孩的形象被表现的太色情了，美国的唱片经销商竟威胁要抵制这张唱片。Eric Clapton自传提到了这段，由于乐队马上开始大规模的美国巡演，所以再版的唱片只好换上了一张乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片了事。我今天带来了两张黑胶唱片，手里拿的这张是乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片做封面的唱片，是首版被抵制后再版。5.《Sea of joy》，由SteveWinwood创作的。5：23选择封面的女主角时，在年纪设定上并没有马虎。考量年龄再大点，看起来会像性感海报女郎。年纪再小一点，也会显得微不足道，因此要求从小女孩过渡到女人的中间阶段。摄影师Bob Seidemann认为唯有该时期能够散发全然耀眼的纯真光芒。摄制组在伦敦地铁面试到一名14岁少女，也与她的父母会谈过，不过拍摄效果还是太成熟了，因此改由她当时11岁的妹妹Mariora Goschen上阵。可爱的Mariora一开始要求以一匹小马作为报酬，最后还是收下比较实际的40英镑。这是一张艺术处理后的相片，画面上是一位长着红色卷发的青春期女孩，景取在她腰部以上，半裸的女孩手持一只非常现代主义的银色模型飞机，它来自Eric Clapton的朋友，宝石匠米科•米利甘的设计；女孩的身后是如伯克夏丘陵般的翠绿山野，再远处是湛蓝的天空和白色的云朵。Eric Clapton立刻就喜欢上了这个设计概念，因为他觉得它准确地捕捉到了“BlindFaith”乐队名字的含义。女孩代表的天真无邪与飞机象征的经历、科学、未来并存。当时Eric Clapton认为这张精彩的封套图片加上乐队的名字会破坏原有的效果，于是摄影师想出一个主意，把乐队的名字写在包装纸上，去掉包装后就会是这张原封不动的图片。6.《Can't find my way home》3：18专辑封面女主如今已过花甲之年，而这张历经半个多世纪的美国首版发行的唱片也因一度被禁而充满传奇色彩和收藏价值。我这张1969年美国首版的黑胶唱片收藏于宝岛台湾，收藏价2000台币，当时老板娘也不懂这张黑胶唱片封面的故事，她说因为进价蛮高的所以售价也相对高一些。这几年一直无人问津最后被我这位来自北京的行家收了，觉得特别有意义。这张唱片品相还是不错的，因为是二手的，所以早就拆开了没有了那张曾写着乐队名字的包装纸，遗憾的是，至今都从未见过那张带有乐队名字的包装纸。简单介绍下这张专辑的曲目1969 年 8 月,由Jimmy Miller担任制作人发行的专辑《Blind Faith》 将乐队成员的作品排列在一张六轨 LP 中。专辑中《Sea of joy》、《Can't find my way home》都是Steve Winwood创作的。《Can't find my way home》经常被1974年Eric Clapton 录制《海洋大道461》专辑时期的乐队女歌手伊冯娜翻唱，头几年热播的美剧《This is us》 也选用过这首歌。 7.《Can't find my way home》Eric Clapton伊冯娜5:181975年8月1日发行 EC Was HereEric Clapton创作了《Presence of the Lord》，关于这首歌还有个趣闻，就是Eric Clapton总打断Steve并指导他如何演绎这首歌，Steve Winwood烦了直接怼过去，你别再告诉我怎么唱，这首歌既然是你写的，你自己唱好了。8.《Presence of the Lord》 Eric Clapton 6:43很多乐迷朋友对这支成立半年不足就解散的Blind Faith乐队并没有特别关注，也是因为很多人觉得主唱兼键盘手Steve Winwood的唱法一点都不摇滚。但这完全没有影响乐队录制的唯一一张专辑在英国和美国名列前茅的成绩。因为它是在特别短的时间里制作的，因此被认为是一种奇异的经典。然而，事后看来，Blind Faith 专辑值得重新发现和重新评估。乐团中的几位天才人物保证了这张专辑的音乐水准，在 1960 年代即将结束的动荡时期，Blind Faith 的布鲁斯摇滚融合了 Cream 和 Traffic两个乐队的声音，成为英国摇滚音乐史上的一个重要里程碑。分享下这张专辑的乐评部分；专辑的开场白，冗长的《Hard to cry Today》由SteveWinwood精心设计，展示了乐队四位成员的音乐智慧。乐队翻唱了一首巴迪·霍利的《Well All Right》，探索了更奇妙的迷幻摇滚乐之旅，这绝对是1969年时代的一首重要歌曲。Eric Clapton的《Presence of the Lord》以缓慢燃烧的强烈蓝调结束了专辑的第一面，在海德公园演出时这首歌成为了现场拍摄的一大亮点。这张唱片准备仓促， B Side 只收录了两首歌曲：第一首SteveWinwood的《Sea of Joy 》在结构上有明显的交通乐队感觉；第二首是Ginger Baker长达15分钟的作品《Do What You Like》，充满了独奏和即兴的探索性。9.《Do What You Like》15：18Winwood回到"Traffic"乐队呆了5年，然后成功单飞。Clapton则为自己找到了定位，凭借无数上榜专辑和单曲作品主宰了整个70、80甚至90年代。尽管两位老友多年来始终保持着朋友关系，但直到2008年2月，"BlindFaith"成立近40年之后，Winwood和Clapton才再次聚首。2008年2月25日到28日，盲目信仰乐队解散近40年后，EricClapton与Steve Winwood重聚在美国麦迪逊广场花园，举办了三场可以说是场场爆满的演出，无数的乐迷都亲临现场来见证这个历史性的重聚。2008年2月在美国纽约麦迪逊广场花园举行的这唱聚会演出与1969年在英国伦敦海德公园的演出同样充满着新鲜感与活力，在音乐上非常具有挑战性。两位花甲之年的音乐家为他们的乐迷上演了一场伟大的演出，百分百呈现了他们的音乐天赋。有幸的是，这场伟大的重聚演出后来陆续有影、音资料面世。如果你是一位布鲁斯摇滚歌迷，肯定不会错过这场对布鲁斯摇滚乐的探索。节目最后播放一首我个人非常喜欢的2008年5月25日美国麦迪逊广场花园现场经典10.Double Trouble(Live from Madison Square Garden)当晚Clapton的状态是有多好啊，Amazing布鲁斯旋律真是汹涌澎湃，倾泻而出。每次听都觉悲从中来不可断绝。。。所有的杯桑，伴着老克的吉他倾泻而下……沧桑道尽…老克永远是我的精神安慰这首歌的最佳版本，后半段的solo简直要逆天这个版本完胜武道馆的两个版本还有crossroad的版本盲目信仰乐队解散50周年的2019年，Eric Clapton与Steve Winwood重聚在伦敦的海德公园。Ginger Baker没有去，不知道是不是因为身体原因。我的一位好朋友宋渐渐还买了一张票，她还说Ginger Baker发了FACEBOOK预祝这场演出顺利。如今，我们敬畏的一代鼓王Ginger Baker已辞世，为这个世界留下许多传世经典。节目最后，再次向大师致敬。感谢您的聆听，下期节目见。结束曲：Hadto Cry Today (Live from Madison Square Garden)7：47

Episode 129 of A History of Rock Music in Five Hundred Songs looks at “(I Can't Get No) Satisfaction” by the Rolling Stones, and how they went from being a moderately successful beat group to being the only serious rivals to the Beatles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eleven-minute bonus episode available, on "I'll Never Find Another You" by the Seekers. 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/ Resources As usual I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Two resources that I've used for this and all future Stones episodes — The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. When in doubt, the version of the narrative I've chosen to use is the one from Davis' book. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. Sympathy for the Devil: The Birth of the Rolling Stones and the Death of Brian Jones by Paul Trynka is, as the title might suggest, essentially special pleading for Jones. It's as well-researched and well-written as a pro-Jones book can be, and is worth reading for balance, though I find it unconvincing. This web page seems to have the most accurate details of the precise dates of sessions and gigs. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971, including every Stones track I excerpt in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at one of the most important riffs in rock and roll history -- the record that turned the distorted guitar riff into the defining feature of the genre, even though the man who played that riff never liked it. We're going to look at a record that took the social protest of the folk-rock movement, aligned it with the misogyny its singer had found in many blues songs, and turned it into the most powerful expression of male adolescent frustration ever recorded to that point. We're going to look at "Satisfaction" by the Rolling Stones: [Excerpt: The Rolling Stones, "Satisfaction"] A note before we start this -- this episode deals with violence against women, and with rape. If you're likely to be upset hearing about those things, you might want to either skip this episode, or read the transcript on the website first. The relevant section comes right at the end of the episode, so you can also listen through to the point where I give another warning, without missing any of the rest of the episode. Another point I should make here -- most of the great sixties groups have very accurate biographies written about them. The Stones, even more than the Beatles, have kept a surprising amount of control over their public image, with the result that the only sources about them are either rather sanitised things made with their co-operation, or rather tabloidy things whose information mostly comes from people who are holding a grudge or have a particular agenda. I believe that everything in this episode is the most likely of the various competing narratives, but if you check out the books I used, which are listed on the blog post associated with this episode, you'll see that there are several different tellings of almost every bit of this story. So bear that in mind as you're listening. I've done my best. Anyway, on with the episode.  When we left the Rolling Stones, they were at the very start of their recording career, having just released their first big hit single, a version of "I Wanna Be Your Man", which had been written for them by Lennon and McCartney.  The day after they first appeared on Top of the Pops, they were back in the recording studio, but not to record for themselves. The five Stones, plus Ian Stewart, were being paid two pounds a head by their manager/producer Andrew Oldham to be someone else's backing group. Oldham was producing a version of "To Know Him is to Love Him", the first hit by his idol Phil Spector, for a new singer he was managing named Cleo Sylvester: [Excerpt: Cleo, "To Know Him is to Love Him"] In a further emulation of Spector, the B-side was a throwaway instrumental. Credited to "the Andrew Oldham Orchestra", and with Mike Leander supervising, the song's title, "There Are But Five Rolling Stones", gave away who the performers actually were: [Excerpt: The Andrew Oldham Orchestra, "There Are But Five Rolling Stones"] At this point, the Stones were still not writing their own material, but Oldham had already seen the writing on the wall -- there was going to be no place in the new world opened up by the Beatles for bands that couldn't generate their own hits, and he had already decided who was going to be doing that for his group.  It would have been natural for him to turn to Brian Jones, still at this point the undisputed leader of the group, and someone who had a marvellous musical mind. But possibly in order to strengthen the group's identity as a group rather than a leader and his followers -- Oldham has made different statements about this at different points -- or possibly just because they were living in the same flat as him at the time, while Jones was living elsewhere, he decided that the Rolling Stones' equivalent of Lennon and McCartney was going to be Jagger and Richards. There are several inconsistencies in the stories of how Jagger and Richards started writing together -- and things like what the actual first song they wrote together was, or when they wrote it, will probably always be lost to the combination of self-aggrandisement and drug-fuelled memory loss that makes it difficult to say anything definitive about much of their career. But we do know that one of the earliest songs they wrote together was "As Tears Go By", a song that wasn't considered suitable for the group -- though they did later record a version of it -- and was given instead to Marianne Faithfull, a young singer with whom Jagger was about to enter into a relationship: [Excerpt: Marianne Faithfull, "As Tears Go By"] It's not entirely clear who wrote what on that song -- it's usually referred to as a Jagger/Richards collaboration, but it's credited to Jagger, Richards, and Oldham, and at least one source claims it was actually written by Jagger and the session guitarist Big Jim Sullivan -- and if so, this would be the first time of many that a song written by Jagger or Richards in collaboration with someone else would be credited to Jagger and Richards without any credit going to their co-writer. But the consensus story, as far as there is a consensus, seems to be that Oldham locked Jagger and Richards into a kitchen, and told them they weren't coming out until they had a song written. And it had to be a proper song, not a pastiche of something else, and it had to be the kind of song you could release as a single, not a blues song. After spending all night in the kitchen, Richards eventually got bored of being stuck in there, and started strumming his guitar and singing "it is the evening of the day", and the two of them quickly came up with the rest of the song. After "As Tears Go By", they wrote a lot of songs that they didn't feel were right for the group, but gave them away to other people, like Gene Pitney, who recorded "That Girl Belongs to Yesterday": [Excerpt: Gene Pitney, "That Girl Belongs to Yesterday"] Pitney, and his former record producer Phil Spector, had visited the Stones during the sessions for their first album, which started the day after that Cleo session, and had added a little piano and percussion to a blues jam called "Little by Little", which also featured Allan Clarke and Graham Nash of the Hollies on backing vocals. The songwriting on that track was credited to Spector and Nanker Phelge, a group pseudonym that was used for jam sessions and instrumentals. It was one of two Nanker Phelge songs on the album, and there was also an early Jagger and Richards song, "Tell Me", an unoriginal Merseybeat pastiche: [Excerpt: The Rolling Stones, "Tell Me"] But the bulk of the album was made up of cover versions of songs by Bo Diddley, Chuck Berry, Rufus Thomas, Marvin Gaye, and other Black American musicians. The album went to number one in the UK album charts, which is a much more impressive achievement than it might sound. At this point, albums sold primarily to adults with spending money, and the album charts changed very slowly. Between May 1963 and February 1968, the *only* artists to have number one albums in the UK were the Beatles, the Stones, Dylan, the Monkees, the cast of The Sound of Music, and Val Doonican. And between May 63 and April 65 it was *only* the Beatles and the Stones. But while they'd had a number one album, they'd still not had a number one single, or even a top ten one. "I Wanna Be Your Man" had been written for them and had hit number twelve, but they were still not writing songs that they thought were suited for release as singles, and they couldn't keep asking the Beatles to help them out, so while Jagger and Richards kept improving as songwriters, for their next single they chose a Buddy Holly B-side: [Excerpt: Buddy Holly, "Not Fade Away"] The group had latched on to the Bo Diddley rhythm in that song, along with its machismo -- many of the cover versions they chose in this period seem to have not just a sexual subtext but to be overtly bragging, and if Little Richard is to be believed on the subject, Holly's line "My love is bigger than a Cadillac" isn't that much of an exaggeration. It's often claimed that the Stones exaggerated and emphasised the Bo Diddley sound, and made their version more of an R&B number than Holly's, but if anything their version owes more to someone else.  The Stones' first real UK tour had been on a bill with Mickie Most, Bo Diddley, Little Richard, and the Everly Brothers, and Keith Richards in particular had been amazed by the Everlys. He said later "The best rhythm guitar playing I ever heard was from Don Everly. Nobody ever thinks about that, but their rhythm guitar playing is perfect". Don Everly, of course, was himself very influenced by Bo Diddley, and learned to play in open-G tuning from Diddley -- and several years later, Keith Richards would make that tuning his own, after being inspired by Everly and Ry Cooder.  The Stones' version of "Not Fade Away" owes at least as much to Don Everly's rhythm guitar style as to that of Holly or Diddley. Compare, say, the opening of "Wake Up Little Suzie": [Excerpt: The Everly Brothers, "Wake Up Little Suzie"] The rhythm guitar on the Stones version of "Not Fade Away" is definitely Keith Richards doing Don Everly doing Bo Diddley: [Excerpt: The Rolling Stones, "Not Fade Away"] That was recorded during the sessions for their first album, and was, depending on whose story you believe, another track that featured Phil Spector and Gene Pitney on percussion, recorded at the same session as "Little by Little", which became its B-side. Bill Wyman, who kept copious notes of the group's activities, has always said that the idea that it was recorded at that session was nonsense, and that it was recorded weeks later, and Oldham merely claimed Spector was on the record for publicity purposes. On the other hand, Gene Pitney had a very strong memory of being at that session. Spector had been in the country because the Ronettes had been touring the UK with the Stones as one of their support acts, along with the Swinging Blue Jeans and Marty Wilde, and Spector was worried that Ronnie might end up with one of the British musicians. He wasn't wrong to worry -- according to Ronnie's autobiography, there were several occasions when she came very close to sleeping with John Lennon, though they never ended up doing anything and remained just friends, while according to Keith Richards' autobiography he and Ronnie had a chaste affair on that tour which became less chaste when the Stones later hit America. But Spector had flown over to the UK to make sure that he remained in control of the young woman who he considered his property. Pitney, meanwhile, according to his recollection, turned up to the session at the request of Oldham, as the group were fighting in the studio and not getting the track recorded. Pitney arrived with cognac, telling the group that it was his birthday and that they all needed to get drunk with him. They did, they stopped fighting, and they recorded the track: [Excerpt: The Rolling Stones, "Not Fade Away"] "Not Fade Away" made number three on the UK charts, and also became the first Stones record to chart in the US at all, though it only scraped its way to number forty-eight, not any higher. But in itself that was a lot -- it meant that the Stones had a record doing well enough to justify them going to the US for their first American tour.  But before that, they had to go through yet another UK tour -- though this isn't counted as an official tour in the listings of their tours, it's just a bunch of shows, in different places, that happened to be almost every night for a couple of months. By this time, the audience response was getting overwhelming, and shows often had to be cut short to keep the group safe. At one show, in Birkenhead, the show had to be stopped after the band played *three bars*, with the group running off stage after that as the audience invaded the stage. And then it was off to the US, where they were nowhere near as big, though while they were over there, "Tell Me" was also released as a single to tie in with the tour, and that did surprisingly well, making number twenty-four. The group's first experience of the US wasn't an entirely positive one -- there was a disastrous appearance on the Dean Martin Show on TV, with Martin mocking the group both before and after their performance, to the extent that Bob Dylan felt moved to write in the liner notes to his next album “Dean Martin should apologise t'the Rolling Stones”. But on the other hand, there were some good experiences. They got to see James Brown at the Apollo, and Jagger started taking notes -- though Richards also noted *what* Jagger was noting, saying "James wanted to show off to these English folk. He's got the Famous Flames, and he's sending one out for a hamburger, he's ordering another to polish his shoes and he's humiliating his own band. To me, it was the Famous Flames, and James Brown happened to be the lead singer. But the way he lorded it over his minions, his minders and the actual band, to Mick was fascinating" They also met up with Murray the K, the DJ who had started the career of the Ronettes among others. Murray had unilaterally declared himself "the fifth Beatle", and was making much of his supposed connections with British pop stars, most of whom either had no idea who he was or actively disliked him (Richards, when talking about him, would often replace the K with a four-letter word usually spelled with a "c"). The Stones didn't like him any more than any of the other groups did, but Murray played them a record he thought they'd be interested in -- "It's All Over Now" by the Valentinos, the song that Bobby Womack had written and which was on Sam Cooke's record label: [Excerpt: The Valentinos, "It's All Over Now"] They decided that they were going to record that, and handily Oldham had already arranged some studio time for them. As Giorgio Gomelsky would soon find with the Yardbirds, Oldham was convinced that British studios were simply unsuitable for recording loud blues-based rock and roll music, and Phil Spector had suggested to him that if the Stones loved Chess records so much, they might as well record at Chess studios.  So while the group were in Chicago, they were booked in for a couple of days in the studio at Chess, where they were horrified to discover that their musical idol Muddy Waters was earning a little extra cash painting the studio ceiling and acting as a roadie, helping them in with their equipment.  (It should be noted here that Marshall Chess, Leonard Chess' son who worked with the Stones in the seventies, has denied this happened. Keith Richards insists it did.) But after that shock, they found working at Chess a great experience. Not only did various of their musical idols, like Willie Dixon and Chuck Berry, as well as Waters, pop in to encourage them, and not only were they working with the same engineer who had recorded many of those people's records, but they were working in a recording studio with an actual multi-track system rather than a shoddy two-track tape recorder. From this point on, while they would still record in the UK on occasion, they increasingly chose to use American studios.  The version of "It's All Over Now" they recorded there was released as their next single. It only made the top thirty in the US -- they had still not properly broken through there -- but it became their first British number one: [Excerpt: The Rolling Stones, "It's All Over Now"] Bobby Womack was furious that the Stones had recorded his song while his version was still new, but Sam Cooke talked him down, explaining that if Womack played his cards right he could have a lot of success through his connection with these British musicians. Once the first royalty cheques came in, Womack wasn't too upset any more. When they returned to the UK, they had another busy schedule of touring and recording -- and not all of it just for Rolling Stones work. There was, for example, an Andrew Oldham Orchestra session, featuring many people from the British session world who we've noted before -- Joe Moretti from Vince Taylor's band, John Paul Jones, Jimmy Page, Andy White, Mike Leander, and more. Mick Jagger added vocals to their version of "I Get Around": [Excerpt: The Andrew Oldham Orchestra, "I Get Around"] It's possible that Oldham had multiple motives for recording that -- Oldham was always a fan of Beach Boys style pop music more than he was of R&B, but he also was in the process of setting up his own publishing company, and knew that the Beach Boys' publishers didn't operate in the UK. In 1965, Oldham's company would become the Beach Boys' UK publishers, and he would get a chunk of every cover version of their songs, including his own. There were also a lot of demo sessions for Jagger/Richards songs intended for other artists, with Mick and Keith working with those same session musicians -- like this song that they wrote for the comedian Jimmy Tarbuck, demoed by Jagger and Richards with Moretti, Page, Jones, John McLaughlin, Big Jim Sullivan, and Andy White: [Excerpt: Mick Jagger and Keith Richards, "We're Wastin' Time"] But of course there were also sessions for Rolling Stones records, like their next UK number one single, "Little Red Rooster": [Excerpt: The Rolling Stones, "Little Red Rooster"] "Little Red Rooster" is a song that is credited to Willie Dixon, but which actually combines several elements from earlier blues songs, including a riff inspired by the one from Son House's "Death Letter Blues": [Excerpt: Son House, "Death Letter Blues"] A melody line and some lines of lyric from Memphis Minnie's "If You See My Rooster": [Excerpt: Memphis Minnie, "If You See My Rooster"] And some lines from Charley Patton's "Banty Rooster Blues": [Excerpt: Charley Patton, "Banty Rooster Blues"] Dixon's resulting song had been recorded by Howlin' Wolf in 1961: [Excerpt: Howlin' Wolf, "Little Red Rooster"] That hadn't been a hit, but Sam Cooke had recorded a cover version, in a very different style, that made the US top twenty and proved the song had chart potential: [Excerpt: Sam Cooke, "Little Red Rooster"] The Rolling Stones version followed Howlin' Wolf's version very closely, except that Jagger states that he *is* a cock -- I'm sorry, a rooster -- rather than that he merely has one. And this would normally be something that would please Brian Jones immensely -- that the group he had formed to promote Delta and Chicago blues had managed to get a song like that to number one in the UK charts, especially as it was dominated by his slide playing. But in fact the record just symbolised the growing estrangement between Jones and the rest of his band. When he turned up at the session to record "Little Red Rooster", he was dismayed to find out that the rest of the group had deliberately told him the wrong date. They'd recorded the track the day before, without him, and just left a note from Jagger to tell him where to put his slide fills. They spent the next few months ping-ponging between the UK and the US. In late 1964 they made another US tour, during which at one point Brian Jones collapsed with what has been variously reported as stress and alcohol poisoning, and had to miss several shows, leaving the group to carry on without him. There was much discussion at this point of just kicking him out of the band, but they decided against it -- he was still perceived as the group's leader and most popular member. They also appeared on the TAMI show, which we've mentioned before, and which we'll look at in more detail when we next look at James Brown, but which is notable here for two things. The first is that they once again saw how good James Brown was, and at this point Jagger decided that he was going to do his best to emulate Brown's performance -- to the extent that he asked a choreographer to figure out what Brown was doing and teach it to him, but the choreographer told Jagger that Brown moved too fast to figure out all his steps. The other is that the musical director for the TAMI Show was Jack Nitzsche, and this would be the start of a professional relationship that would last for many years. We've seen Nitzsche before in various roles -- he was the co-writer of "Needles and Pins", and he was also the arranger on almost all of Phil Spector's hits. He was so important to Spector's sound that Keith Richards has said “Jack was the Genius, not Phil. Rather, Phil took on Jack's eccentric persona and sucked his insides out.” Nitzsche guested on piano when the Stones went into the studio in LA to record a chunk of their next album, including the ballad "Heart of Stone", which would become a single in the US. From that point on, whenever the Stones recorded in LA, Nitzsche would be there, adding keyboards and percussion and acting as an uncredited co-producer and arranger. He was apparently unpaid for this work, which he did just because he enjoyed being around the band. Nitzsche would also play on the group's next UK single, recorded a couple of months later. This would be their third UK number one, and the first one credited to Jagger and Richards as songwriters, though the credit is a rather misleading one in this case, as the chorus is taken directly from a gospel song by Pops Staples, recorded by the Staple Singers: [Excerpt: The Staple Singers, "This May Be The Last Time"] Jagger and Richards took that chorus and reworked it into a snarling song whose lyrics were based around Jagger's then favourite theme -- how annoying it is when women want to do things other than whatever their man wants them to do: [Excerpt: The Rolling Stones, "The Last Time"] There is a deep, deep misogyny in the Stones' lyrics in the mid sixties, partly inspired by the personas taken on by some blues men (though there are very few blues singers who stuck so unrelentingly to a single theme), and partly inspired by Jagger's own relationship with Chrissie Shrimpton, who he regarded as his inferior, even though she was his superior in terms of the British class system. That's even more noticeable on "Play With Fire", the B-side to "The Last Time". "The Last Time" had been recorded in such a long session that Jones, Watts, and Wyman went off to bed, exhausted. But Jagger and Richards wanted to record a demo of another song, which definitely seems to have been inspired by Shrimpton, so they got Jack Nitzsche to play harpsichord and Phil Spector to play (depending on which source you believe) either a bass or a detuned electric guitar: [Excerpt: The Rolling Stones, "Play With Fire"] The demo was considered good enough to release, and put out as the B-side without any contribution from the other three Stones. Other songs Chrissie Shrimpton would inspire over the next couple of years would include "Under My Thumb", "19th Nervous Breakdown", and "Stupid Girl". It's safe to say that Mick Jagger wasn't going to win any boyfriend of the year awards. "The Last Time" was a big hit, but the follow-up was the song that turned the Stones from being one of several British bands who were very successful to being the only real challengers to the Beatles for commercial success. And it was a song whose main riff came to Keith Richards in a dream: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction)"] Richards apparently had a tape recorder by the side of his bed, and when the riff came to him he woke up enough to quickly record it before falling back to sleep with the tape running. When he woke up, he'd forgotten the riff, but found it at the beginning of a recording that was otherwise just snoring. For a while Richards was worried he'd ripped the riff off from something else, and he's later said that he thinks that it was inspired by "Dancing in the Street". In fact, it's much closer to the horn line from another Vandellas record, "Nowhere to Run", which also has a similar stomping rhythm: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] You can see how similar the two songs are by overlaying the riff from “Satisfaction” on the chorus to “Nowhere to Run”: [Excerpt “Nowhere to Run”/”Satisfaction”] "Nowhere to Run" also has a similar breakdown. Compare the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] to the Stones: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] So it's fairly clear where the song's inspiration came from, but it's also clear that unlike a song like "The Last Time" this *was* just inspiration, rather than plagiarism.  The recorded version of "Satisfaction" was never one that its main composer was happy with. The group, apart from Brian Jones, who may have added a harmonica part that was later wiped, depending on what sources you read, but is otherwise absent from the track, recorded the basic track at Chess studios, and at this point it was mostly acoustic. Richards thought it had come out sounding too folk-rock, and didn't work at all. At this point Richards was still thinking of the track as a demo -- though by this point he was already aware of Andrew Oldham's tendency to take things that Richards thought were demos and release them. When Richards had come up with the riff, he had imagined it as a horn line, something like the version that Otis Redding eventually recorded: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] So when they went into the studio in LA with Jack Nitzsche to work on some tracks there including some more work on the demo for “Satisfaction”, as well as Nitzsche adding some piano, Richards also wanted to do something to sketch out what the horn part would be. He tried playing it on his guitar, and it didn't sound right, and so Ian Stewart had an idea, went to a music shop, and got one of the first ever fuzz pedals, to see if Richards' guitar could sound like a horn. Now, people have, over the years, said that "Satisfaction" was the first record ever to use a fuzz tone. This is nonsense. We saw *way* back in the episode on “Rocket '88” a use of a damaged amp as an inspired accident, getting a fuzzy tone, though nobody picked up on that and it was just a one-off thing. Paul Burlison, the guitarist with the Rock 'n' Roll Trio, had a similar accident a few years later, as we also saw, and went with it, deliberately loosening tubes in his amp to get the sound audible on their version of "Train Kept A-Rollin'": [Excerpt: Johnny Burnette and the Rock 'n' Roll Trio, "Train Kept A-Rollin'"] A few years later, Grady Martin, the Nashville session player who was the other guitarist on that track, got a similar effect on his six-string bass solo on Marty Robbins' "Don't Worry", possibly partly inspired by Burlison's sound: [Excerpt: Marty Robbins, "Don't Worry"] That tends to be considered the real birth of fuzz, because that time it was picked up by the whole industry. Martin recorded an instrumental showing off the technique: [Excerpt: Grady Martin, "The Fuzz"] And more or less simultaneously, Wrecking Crew guitarist Al Casey used an early fuzz tone on a country record by Sanford Clark: [Excerpt: Sanford Clark, "Go On Home"] And the pedal steel player Red Rhodes had invented his own fuzz box, which he gave to another Wrecking Crew player, Billy Strange, who used it on records like Ann-Margret's "I Just Don't Understand": [Excerpt: Ann-Margret, "I Just Don't Understand"] All those last four tracks, and many more, were from 1960 or 1961. So far from being something unprecedented in recording history, as all too many rock histories will tell you, fuzz guitar was somewhat passe by 1965 -- it had been the big thing on records made by the Nashville A-Team and the Wrecking Crew four or five years earlier, and everyone had moved on to the next gimmick long ago. But it was good enough to use to impersonate a horn to sketch out a line for a demo. Except, of course, that while Jagger and Richards disliked the track as recorded, the other members of the band, and Ian Stewart (who still had a vote even though he was no longer a full member) and Andrew Oldham all thought it was a hit single as it was. They overruled Jagger and Richards and released it complete with fuzz guitar riff, which became one of the most well-known examples of the sound in rock history. To this day, though, when Richards plays the song live, he plays it without the fuzztone effect. Lyrically, the song sees Mick Jagger reaching for the influence of Bob Dylan and trying to write a piece of social commentary. The title line seems, appropriately for a song partly recorded at Chess studios, to have come from a line in a Chuck Berry record, "Thirty Days": [Excerpt: Chuck Berry, "Thirty Days"] But the sentiment also owes more than a little to another record by a Chess star, one recorded so early that it was originally released when Chess was still called Aristocrat Records -- Muddy Waters'  "I Can't Be Satisfied": [Excerpt: Muddy Waters, "I Can't Be Satisfied"] “Satisfaction” is the ultimate exercise in adolescent male frustration. I once read something, and I can't for the life of me remember where or who the author was, that struck me as the most insightful critique of the sixties British blues bands I've ever heard. That person said that by taking the blues out of the context in which the music had been created, they fundamentally changed the meaning of it -- that when Bo Diddley sang "I'm a Man", the subtext was "so don't call me 'boy', cracker". Meanwhile, when some British white teenagers from Essex sang the same words, in complete ignorance of the world in which Diddley lived, what they were singing was "I'm a man now, mummy, so you can't make me tidy my room if I don't want to". But the thing is, there are a lot of teenagers out there who don't want to tidy their rooms, and that kind of message does resonate. And here, Jagger is expressing the kind of aggressive sulk that pretty much every teenager, especially every frustrated male teenager will relate to. The protagonist is dissatisfied with everything in his life, so criticism of the vapidity of advertising is mixed in with sexual frustration because women won't sleep with the protagonist when they're menstruating: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] It is the most adolescent lyric imaginable, but pop music is an adolescent medium. The song went to number one in the UK, and also became the group's first American number one. But Brian Jones resented it, so much so that when they performed the song live, he'd often start playing “I'm Popeye the Sailor Man”. This was partly because it wasn't the blues he loved, but also because it was the first Stones single he wasn't on (again, at least according to most sources. Some say he played acoustic rhythm guitar, but most say he's not on it and that Richards plays all the guitar parts). And to explain why, I have to get into the unpleasant details I talked about at the start. If you're likely to be upset by discussion of rape or domestic violence, stop the episode now. Now, there are a number of different versions of this story. This is the one that seems most plausible to me, based on what else I know about the Stones, and the different accounts, but some of the details might be wrong, so I don't want anyone to think that I'm saying that this is absolutely exactly what happened. But if it isn't, it's the *kind* of thing that happened many times, and something very like it definitely happened. You see, Brian Jones was a sadist, and not in a good way. There are people who engage in consensual BDSM, in which everyone involved is having a good time, and those people include some of my closest friends. This will never be a podcast that engages in kink-shaming of consensual kinks, and I want to make clear that what I have to say about Jones has nothing to do with that. Because Jones was not into consent. He was into physically injuring non-consenting young women, and he got his sexual kicks from things like beating them with chains. Again, if everyone is involved is consenting, this is perfectly fine, but Jones didn't care about anyone other than himself. At a hotel in Clearwater, Florida, on the sixth of May 1965, the same day that Jagger and Richards finished writing "Satisfaction", a girl that Bill Wyman had slept with the night before came to him in tears. She'd been with a friend the day before, and the friend had gone off with Jones while she'd gone off with Wyman. Jones had raped her friend, and had beaten her up -- he'd blackened both her eyes and done other damage. Jones had hurt this girl so badly that even the other Stones, who as we have seen were very far from winning any awards for being feminists of the year, were horrified. There was some discussion of calling the police on him, but eventually they decided to take matters into their own hands, or at least into one of their employees' hands. They got their roadie Mike Dorsey to teach him a lesson, though Oldham was insistent that Dorsey not mess up Jones' face. Dorsey dangled Jones by his collar and belt out of an upstairs window and told Jones that if he ever did anything like that again, he'd drop him. He also beat him up, cracking two of Jones' ribs. And so Jones was not in any state to play on the group's first US number one, or to play much at all at the session, because of the painkillers he was on for the cracked ribs.  Jones would remain in the band for the next few years, but he had gone from being the group's leader to someone they disliked and were disgusted by. And as we'll see the next couple of times we look at the Stones, he would only get worse.

Women’s History Week was established (to start March 7th) by Congress in 1981, and they designated March as Women’s History Month in 1987. On this week’s program, we begin a two-part feature to celebrate the contributions of women in folk music. This week we feature selections from Bonnie Raitt, Rachel Eddy, The Coon Creek Girls, Shemekia Copeland, Fiona Boyes, Tracy Nelson and many more. Groundbreaking music from women … this week on The Sing Out! Radio Magazine. Episode #21-12: Assorted Women, Pt.1 Host: Tom Druckenmiller The Sing Out! Radio Magazine is broadcast weekly on the finest public radio stations nationwide and syndicated on iTunes, Stitcher, Podomatic, Bluegrass Planet, The Folk Music Notebook and on the Sing Out! website www.singout.org Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Rachel Eddy / “Sarah Armstrong” / Hand on the Plow / Self Produced Bonnie Raitt w/ Sippie Wallace / “Women Be Wise” / Collection / Warner Brothers Frank & Allie Lee / “White Top Mountain” / Treat A Stranger Right / Bake Tone The Coon Creek Girls / “Little Birdie” / Flowers in the Wildwood / Trikont Pearl Hicks / “Pretty Polly” / On the Threshold of a Dream / Ballad Ellen McIlwaine / “Cant't Find My Way Home” / Up from the Skies-The Po;ydor Years / Chronicles Del Ray & the Blue Gators / “Nothin' in Ramblin'” / The Best of Kicking Mule / Laserlight Fiona Boyes / “Hokum Rag” / Blues in my Heart / Reference Tracy Nelson / “Ramblin' Man” / Deep Are the Roots / Wounded Bird Rachel Eddy / “Sarah Armstrong” / Hand on the Plow / Self Produced The Horseflies / “Cluck Old Hen” / Until the Ocean / Pest Control Strange Creek Singers / “Today Has Been a Lonesome Day” / Strange Creek Singers / Arhoolie Emily Miller & Val Mindel / “My Shoes Keep Walking Back to You” / In the Valley / Yodel Ay Hee Whitney Shay et al / “Love's Creeping Up On You” / Blues Caravan 2020 / Ruf Lisa Jeanette / “Our Face” / Jellyfish on the Moon / Self-Produced Shemekia Copeland / “Under My Thumb” / Uncivil War / Alligator Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Welcome to the first DR&R Show of the new year! 2012....Holy S**t!We'll start out with the Usual Suspects and then Kai Ray takes center stage with a classic DR&R wiggler: Jungle Talk [I want some of that]. The original release was on Lodestar 1961 but we'll have to settle with my 45 rpm on Bright Star [same year].For the 1st set we hand the mic off to Jimmy Reed - I'm goin' upside your head [Vee Jay 1964] a sure candidate for misogynist platter of the '60s...sorry Jagger but "Under My Thumb" gets 2nd billing to the musings of Mr. Reed! Albert Collins turns up the heat with "Whatcha Say" a pounder of gigantic proportions! [Imperial 1968]. Ronnie Hawkins asks the age-old lovers question: "Who do you love?" which got it's waxing on Roulette in 1963...and the author of WDYLOve, Bo Diddley, follows up with all apologies: Dearest Darlin' which appeared on a Checker 45 in 1958 [a great year for music!].Purging out the demon for the start of the 2nd set with a killer garage waxing from the Hangmen on Monument 1966...quintessential garage! Following up with a west coast ditty by The Jewels on Imperial "Natural natural ditty" 1955. And just to prove that all music is just music we spin the opening cut from Brisbane's The Saints 1st LP - "I'm Stranded". We found an Aussie pressing of their first 2 pounding punk LP's last year! For my money, The Saints were opening the punk door for EVERYONE! From Australia to Morris County, NJ with a band [that changed their name from The Pseudo-Realists to Good Reason for no good reason] with a song that should've been blasting on every car radio "Hold on to me". A song that's near and dear to my heart as this was the last recordings of my band in the '90s. DRR fave Mark Oliver Everett aka The Eels from a release that I didn't pick up until recently "End Times" from 2010.Last set of the show: The Queen of Rock-a-billy Wanda Jackson cooks up a vampy meal with Funnel of Love on the Capitol label from 1961. And speaking of vamps: Billie Holiday w/ the Teddy Wilson Orchestra swings like 60 from 1941 on Columbia Records - Miss Brown to you. You betcha! Jethro Tull informs us that "It's a new day yesterday" while the Gang of Four revisits one of their pounders "Naturals no in it"....Over and Out with the Braz Gonsalves 7.....Raga Rock on Odeon Records 1970....I've had this one for a while and this is its first airing....I hope you like the show / tell all your friends and we'll see you next week!

Pod of Thunder - 381 w/ Chris Jericho - Streetheart - Under My Thumb: Chris Jericho joins us for his 18th appearance on the show and brings a song by one of his favorite Canadian bands - Streetheart. This Rolling Stones cover of "Under My Thumb" is from the 1979 Streetheart album Under Heaven Over Hell.

Kerry, Nate, and Barry discuss “Under My Thumb,” Hitler’s pets, The Hebrew Hammer, Dad from Long Island (the Zoom thing that’s f**ked), superheroes, Joaquin Phoenix, shower thoughts, and not a regular episode of South Park. I don’t think I’ve ever seen Hitler with a regular hat. Recorded 5/24/20.

Ben and Dianne discuss Just Like Heaven by The Cure. The one that makes us scream, we said.   Dressed Up Like a Douche Misheard lyric from comedian Dan Perlman on Twitter! ”Cat Puppy Love” instead of “Can't Buy Me Love” by The Beatles   Guilty Pleasure Songs Ben: Mama Said Knock You Out by LL Cool J Dianne: Tramp by Salt-N-Pepa   Special THANK YOU Chuck Savage: Musical bumpers Sara Wessling: Guilty Pleasures vocals   Thursday songs up for vote: The Rolling Stones: 1. Under My Thumb 2. Sympathy for the Devil 3. Paint it Black   **********   We have a Patreon Page!   https://www.patreon.com/rockthecashbar   If you would like to help support Rock the Cash Bar (especially during this quarantine) we have some fun perks!   For $5 a month Patreon members will receive early access to all episodes, RTCB swag AND they will have the opportunity to VOTE on THURSDAY songs of the week!   PLEASE rate and leave us a review! It really helps!! Thank you!

Now that the podcast is nearing 30 weeks old, Ashlyn and Christina reflect on their age and notice how their maturity and childishness collide. *edit* ”Under My Thumb” is by THE ROLLING STONES. We talked about MUJI https://www.muji.com/us/ Lanky Guys - Mind the Gap http://www.lankyguys.org/audio/Ascension-Sunday-2019.m4a Catholic Stuff You Should Know - Eight Evil Thoughts http://catholicstuffpodcast.com/podcast/2016/12/01/eight-evil-thoughts.html?fbclid=IwAR1X1GSWlIu4K1rAfODA8rOoYA8keYIvMy_9lfBjRjfrPuPzWlKfemW0_Fo Lord of the Rings Knockoff Audiobook - 7:11 https://www.youtube.com/watch?v=gDP0C7zJSd8 Please review and subscribe!

The Barr Bill is Coming Due. Joe diGenova sees the rats scattering on SpyGate, says for the first time he now believes "some of these guys are gonna go to prison." With the appointment of U.S. Attorney John Durham to investigate the origins of the Russia Hoax, DiGenova adds this has become "very serious business" and is approaching the "big time." Perpetrators lawyering up? CIA Brennan tries to get ahead of the story. FBI Comey kicks the bear, tweets harshly against AG Barr. We review Comey's "blackmail" briefing of Trump in January 2017, as we continue to criticize current FBI Director Christopher Wray for withholding critical information from AG Barr and IG Horowitz. Meanwhile, additional recap of the wild 710 KNUS "Save Our State" event and further debate on the future of the Republican Party in Colorado. What should the grassroots do about Sen. Cory Gardner? Plus, our Sentimental Journey tribute to Doris Day. The "Golden Girl" has passed away at age 97. Que Sera, Sera. Also, our review of the new John Wick: Chapter 3 -- Parabellum martial arts action film. Very well done. Under My Thumb. Gloria. Bullet Holes. With Listener Calls & Music via Bush, the Rolling Stones, Shadows of Knight and Doris Day.     See omnystudio.com/listener for privacy information.

Brace yourself: our theatre editor Gareth K Vile confesses he's actually enjoying himself at the Fringe. It might be down to his enthusiasm for Wild Bore, which he describes as the 'most important piece of work I'll see this year at the Fringe, or anywhere else for that matter'. Today's episode is a little inspired by that show, as he looks at different ways of making theatre, starting with traditional, script-based director and ensemble cast. First up, director James Haddrell of Greenwich Theatre introduces to the festival two shows from female playwrights, Under My Thumb and Gazing at a Distant Star. In part two, Sha Nazir, Art Director and Publisher of BHP Comics and Founder of Glasgow Comic Con, shares a couple of festival picks. Finally Gareth talks to Rachel Briscoe, director of Lists for the End of the World, and they discuss that show, theatrical form, and the meaning of dramaturgy.Show notes: 00:00:00 – introduction00:01:11 – interview with James Haddrell, director of Under My Thumb and Gazing at a Distant Star00:11:09 – Sha Nazir (Glasgow Comic Con, BHP Comics) festival picks: One Man Shoe, Ahir Shah: Control00:19:41 – interview with Rachel Briscoe, director of Lists for the End of the WorldCredits:Festival City Podcast is co-created by Gareth K Vile (host) and Scott Henderson (producer). Intro music by The Joy Drops. Supported by SGSAH.Please send feedback to podcasts[at]list.co.uk

Hayley and Matt make their debut on the Reel World Podcast Channel with their show MUSIC SAVED MY LIFE - listen to the first episode as they discuss KISS and LCD Soundsystem as well as Chuck Klosterman and ET. Check out the companion guide to the pod on our website at this link; http://bit.ly/2eZxVKx Opening Track: "Love Gun" by KISS First Interlude: "Flying" from E.T. The Extra-Terrestrial (John Williams) Interludes & Closing Track: "Under My Thumb" by The Rolling Stones

Hoje temos a banda japonesa Guitar Wolf, The Cramps, Jesus & Mary Chain, a banda francesa Les Thuges, Social Distortion, Led Zeppelin, Bauhaus e muito mais. Faça o download agora (clique com o botão direito e selecione salvar) Para ouvir outras músicas do artista clique nos links. 01 – Jet Generation – Guitar Wolf (00:00) 02 – Bikini Girls With Machine Guns [Live] – The Cramps (03:25) 03 – Lust For Life – Iggy Pop (06:43) 04 – Flowers By The Door – TSOL (11:49) 05 – Kashmir – Led Zeppelin (14:49) 06 – The Sticks – Mother Mother (23:09) 07 – Neverland – The Sisters of Mercy (27:07) 08 – Ziggy Stardust – Bauhaus (David Bowie Cover) (29:40) 09 – Eternal Life – Jeff Buckley (32:49) 10 – Moon Over Marin – Les Thuges (Dead Kennedys Cover) (37:40) 11 – Silver Age – Bob Mould (43:05) 12 – Bulldozer – Fred Schneider (46:08) 13 – I Hate Rock’n’Roll – Jesus & Mary Chain (49:53) 14 – What Doesn’t Kill You – Jake Bugg (53:34) 15 – Under My Thumb – Social Distortion (Rolling Stones Cover) (55:38) A próxima mixtape vai pro ar no dia 20/09/2014.