Podcasts about Vanguard Records

A half century after the United States won its independence from Britain, Canada was rocked by two armed uprising known as the Rebellions of 1837-38.The revolts failed, resulting in many rebels being deported to Australia and Tasmania as political prisoners facing hard labor or hanging. Others escaped such reprisals by going into exile in the US. Sympathy for these disenfranchised French Canadian patriots was the subject of a song written four years later by a young college student named Antoine Gérin-Lajoie.How the Song Came to BeYears later in his memoir Souvenirs de collège, Gérin-Lajoie told how he adapted his lyrics to the deeply expressive French-Canadian folk tune "J'ai fait une maîtresse" (of which "Si tu te mets anguille" is also a variation). “I wrote that song in 1842 when I was in Rhetoric Class in Nicolet, Quebec. I wrote it one night in bed at the request of my friend Cyp Pinard.”Gérin-Lajoie's verses to “Un Canadien Errant” were published in 1844 in the Charivari canadien, and soon the song was being sung by French Canadians across the country — from Acadia on the east coast to the distant reaches of the northwest territories — stirred by how the lyrics captured the deep sadness of exile. Un Canadien errant, A wandering Canadian, Banni de ses foyers, Banished from his homeland, Parcourait en pleurant Traveled, weeping, Des pays étrangers. Through foreign lands. "Si tu vois mon pays, "If you should see my home, Mon pays malheureux, My sad unhappy land, Va dis à mes amis Go say to all my friends Que je me souviens d'eux.” That I remember them.”The Acadian ConnectionLater Acadians also adopted the song as their own — changing its first line to “Un Acadien Errant” — in the context of the Acadian deportation. Between 1749 and 1755, many Acadians who had refused to swear allegiance to the British Crown emigrated to Lower Acadia or Cape Breton. Then, fearing that they might join the French during the coming Seven Years' War, Nova Scotia Governor Charles Lawrence deported the Acadians to New England and the Atlantic Coast. Cajuns of the Louisiana bayou country also trace their own ancestry to these same exiles.Twentieth Century PerformancesBack to song, Paul Robeson recorded a bilingual version in 1950 under the title "Le Canadien Errant.” However, most Americans learned the tune a decade after that with a French-language performance by Ian & Sylvia, who included it on their debut 1962 album for Vanguard Records. The duo gave the song further prominence at the Newport Folk Festival as recorded on the 1996 album Ian & Sylvia Live at Newport. In the 1969 film My Side of the Mountain, folk singer/musicologist Theodore Bikel sang the first part of "Un Canadien Errant" and then played a bit of it on a "homemade" reed flute. The melody refrained throughout the film. Leonard Cohen recorded "Un Canadien Errant" as "The Lost Canadian" on his 1979 Recent Songs album, and his own song "The Faith," on his 2004 album Dear Heather, is based on the same melody. Our Take on the TuneThirty years ago, when The Flood first started doing this song, the band was back to being a trio of the original guys — Dave Peyton, Joe Dobbs and Charlie Bowen — and often on rehearsal night, the only listener in the room would be Dave's beautiful wife, Susan. At the end of the evening, when the guys asked Susie what last song of the evening she'd like to hear, it was almost always this sweet, sad tune that she remembered hearing 20 years earlier down in Louisiana when she and David and young Davy spent an autumn and winter in Cajun country. We lost Susan three years ago this summer. This one's for you, dear heart. 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

“Not my will but Yours be done.” In these 7 simple words the victory is won. Jesus was disgraced so that we, through grace, will never be disgraced.Invite and share this message with your family and friends and bless them with this great message. If you're new to Cornerstone and this is your first time watching us, we'd love to say “hello!” Just click on this url http://cornerstonesf.org/welcome to fill out our Welcome Card and one of our community members will follow up with you. Also if you are in need of prayer, don't hesitate to put in a prayer request at http://cornerstonesf.org/prayer----Song Credits:I Won't Let You Go - SwitchfootJon Foreman, Tim Foreman, Mike Elizondo© 2017 Vanguard Records, a division of Concord Music Group Inc.All music performed by the CornerstoneSF Worship Band under CCLI license No. 48786, CCS No. 8434 #cornerstonesf #liveitoutsf #TheSevenSayings 

This journeyman roots music artist has toured with Steve Earle, Adam Duritz and many others.  He's recorded for Universal Music and Vanguard Records.  And he's become one of the torch bearers for American songwriting over the last 25 years.

 He was a member of Nashville's A-Team. He invented the electric guitar ‘fuzz' effect by accident in a Marty Robbins recording session. He played on some of the most recognizable hit songs and landmark albums; not just country but rock, soul, folk, country rock and released some jazz guitar albums of his own. You can hear his work day in and day out: the Spanish-style acoustic work on Marty's El Paso, the opening and unforgettable lick on Roy Orbison's Oh Pretty Woman, plus dozens upon dozens more. He was one of the most sought after session men in the industry. Oh, and his jazz work with Mancini, Hirt and Fountain were followed by a gig as session leader for Vanguard Records' album releases of Joan Baez, Buffy Sainte-Marie and Country Joe. If there's a word that goes a step beyond prolific, it describes Grady Martin. Join us for a show that celebrates the legend. 

A few weeks before his death in November 1966, Mississippi John Hurt's rendition of “Payday” was released as the opening track on his Today album for Vanguard Records.At the time, many fans believed the 74-year-old bluesman wrote the song, despite his introduction in which he characterized it as “an old tune… a ‘bandit tune.'” And we now know that a quarter of a century earlier, folklorist John Lomax recorded a version of “Payday” by lesser-known blues artists Willie Ford and Lucious Curtis in Natchez, Mississippi.Still, it is the John Hurt version that has become loved among syncopated fingerpicking guitarists; to this day his take on “Payday” is taught in classes and on YouTube videos.The John Hurt Odyssey: Part IThe Today album, hitting record stores in October 1966, marked the end of a remarkable three years for the venerable blues artist, who was born the son of freed slaves around 1892 in Teoc, Mississippi. John Smith Hurt grew up in the Mississippi Delta, living in Avalon, which sits midway between Greenwood and Holcomb just west of Highway 51.He left school at age 10 to be a farm hand and was taught guitar by a local songster and family friend. Hurt lived most of his life without electricity, did hard labor of all sorts and played music as a hobby at local dances. In the late 1920s, performing with local fiddler Willie Narmour, he won a competition and a chance to record with Okeh Records in two sessions, one in Memphis and another in New York City. John Hurt: Part IIThe resulting records were not a great commercial success — John went back to farming and raising a family that would grow to 14 children — but a quarter of a century later, his music entered the folk music canon. That's when two of those 1928 tracks were included in the holy grail of American music, Harry Smith's 1952 Anthology of American Folk Music, considered one of the main catalysts for the folk and blues revival of the 1960s and ‘70s. A decade later, in 1962, the presence of those old cuts — “Frankie” and “Spike Driver Blues” — on in the Smith anthology prompted musicologist Dick Spottswood and his friend, Tom Hoskins, to track Hurt down. Hoskins persuaded him to perform several songs for his tape recorder to make sure he was the genuine article. Quickly convinced — in fact, folkies found Hurt even more proficient than he had been in his younger Okeh recording days — Hoskins encouraged him to move to Washington, D.C., to perform for a broader audience.For the last three years of his life, Hurt performed extensively at colleges, concert halls and coffeehouses, appearing on television shows ranging from “The Tonight Show” with Johnny Carson to Pete Seeger's “Rainbow Quest” on public TV. Much of Hurt's repertoire also was recorded for the Library of Congress, and his final tunes, recorded in 1964 and released two years later, are on Today.He also developed a delightful friendship with a young folksinger named Patrick Sky who produced that final album for Vanguard, where “Payday” is the opening track.Deeper Roots of “Payday”By the way, in the brand new book, Jelly Roll Blues: Censored Songs & Hidden Histories, published last spring, author Elijah Wald finds a much longer tail on the tune, not to mention a possible connection to another Flood favorite.Wald notes that back in 1908, Missouri pianist Blind Boone published a pair of “Southern Rag” medleys that African Americans were singing in that region around the turn of the century.“Medley number one was subtitled ‘Strains from the Alleys',” Wald writes, and included the first publication of “Making Me a Pallet on the Floor.'” Wald says the medley also featured “a song that probably reaches back to slavery times and would be recorded in later years as ‘Pay Day,' ‘Reuben,' and various other names.”Our Take on the TunePurists say this doesn't sound much like Mississippi John Hurt's original, but that's pretty much by design. Once The Flood folks learn a song, they usually stop listening to the original so it is free to find its own form in the Floodisphere. That's their take on what Pete Seeger's folklorist father Charles called “the folk process.”And in this instance, “Payday” has been processing in Floodlandia for more than 20 years now, ever since its inclusion on the band's first studio album back in 2001.Here's the current state of its evolution, taken from a recent rehearsal. 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

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .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

Host Tiokasin Ghosthorse welcomes Marley Shebala back to the show. Marley Shebala, Diné and A:shiwi (or Zuni), is an investigative journalist, photographer, videographer and blogger. Marley talks about the continuing, alarming issue of transporting uranium waste across portions of the Navajo Nation, which already started several years ago. Without any notice, the transportation of uranium waste is taking place not only at Navajo Nation but also Arizona, New Mexico and Nevada. This affects not only the Navajo Nation but also Arizona, New Mexico and Nevada so communities need to find out where this transportation route goes. If the sovereign Navajo Nation is not being notified about this route it's unlikely other communities (cities, towns and rural areas) are being notified about the transport of this waste through their communities and its dangers. People need to be aware of how uranium waste could contaminate people, roads, air, water, etc. (virtually everything). For years Marley has been covering the uranium issue on the 25,000 square-mile Navajo Nation. Most of the Navajo Nation has been contaminated by uranium. Many, may Navajo people have been suffering and continue to suffering from different cancers, children were and continue to be born with defects, etc. However, the US federal government thinks that depleted uranium can still be used: for weapons of war and by somehow turning uranium waste into a type of fuel that will be “clean” nuclear energy for household uses. This is a huge national, and global issue. There is a small group of Diné people traveling to DC at the end of September. They will be traveling in a bus and telling people along the way what they have gone through and asking others if they have also been poisoned and made sick by depleted uranium, too. For more background about today's discussion, please visit “Requiem for RECA (Radiation Exposure Compensation Act)” by Kathy Helms, who has been covering this issue for years: https://www.linkedin.com/pulse/requiem-reca-kathy-helms-ohuvc/. Follow Marley on Facebook, where she will be posting information about the DC trip and the activities that will happen there (as well as covering Navajo Nation activities): https://www.facebook.com/marley.shebala. Additional important information about this issue and many others can be found on Marley's website: http://www.dineresourcesandinfocenter.org/ About Marley: In the Diné way, Marley Shebala is Tó'aheedlíinii (Water Flows Together clan), her mother's clan, and born for Cha'al (Frog clan), which is her father's clan. Her mom is from Lake Valley, New Mexico, which is in the eastern part of the Navajo Nation and next to Chaco Canyon, New Mexico. Her father is from the Pueblo of Zuni, New Mexico. Her hometowns are Lake Valley and Zuni. “Marley Shebala's Notebook” is her website where she provides current news coverage of the Navajo government and Navajo communities on and off the Navajo Nation. She also produces Navajo Nation environmental news and political analysis of the Navajo government and legislative process. Marley hosted "Politics on the Navajo Nation," an internet news show. But due to unreliable WIFI on the Navajo Nation where she resides, the weekly news show was cancelled until she can raise funds to increase WiFi power at her residence. She is available for presentations on the benefits of a free and open press in Indian Country and how to achieve accurate and fair news coverage of the Navajo Nation and Indian Country. Marley works part-time at the Gallup Independent newspaper, which is headquartered in Gallup, New Mexico. She is the only reporter at the Gallup Independent Diné Bureau in Window Rock, Arizona, which covers the Navajo Nation. Before working for the Gallup Independent, she worked as the Navajo Times newspaper's' Senior Reporter specializing in investigative reporting on politics, domestic violence, law enforcement, veterans and the environment. She also covered a wide range of general interest stories. Her stories have won numerous awards from state and national organizations over the more than 30 years she has been in journalism. Production Credits: Tiokasin Ghosthorse (Lakota), Host and Executive Producer Liz Hill (Red Lake Ojibwe), Producer Karen Martinez (Mayan), Studio Engineer, Radio Kingston Tiokasin Ghosthorse, Audio Editor Kevin Richardson, Podcast Editor Music Selections: 1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song) Artist: Moana and the Moa Hunters Album: Tahi (1993) Label: Southside Records (Australia and New Zealand) 2. Song Title: Blackbird Song Artist: Lee Dewyze as heard on AMC's The Walking Dead Season 4, Episode 13 “Along” Single Label: January 2014 Vanguard Records, a Welk Music Group Company, exclusively licensed to Republic Records, a division of UMG Recordings, Inc. 3. Song Title: Raglan Artist: Bruci Jordan Single: Raglan (2024) Label: Bruci Jordan 4. Song Title: The Low Spark of High Heeled Boys Artist: Traffic (Steve Winwood, Producer) Album: The Low Spark of High Heeled Boys (1971) Label: Island 5. Song Title: Ambrosia Artist: A Reminiscent Drive Album: A Reminiscent Drive (2001) Label: React AKANTU INTELLIGENCE Visit Akantu Intelligence, an institute that Tiokasin founded with a mission of contextualizing original wisdom for troubled times. Go to https://akantuintelligence.org to find out more and consider joining his Patreon page at https://www.patreon.com/Ghosthorse

Show #1054 Vinyl Grooves 01. Paul Weeden/Herbert Noord Quintet - So This Is The Blues (9:27) (Clear Sight, Timeless Records, 1987) 02. Elvin Bishop Band - Rock My Soul (2:46) (Rock My Soul, Epic Records, 1972) 03. Delaney & Bonnie - Don't Deceive Me (Please Don't Go) (3:54) (Motel Shot, Atco Records, 1971) 04. Linda Hopkins - I'm Hungry (4:49) (How Blue Can You Get, Palo Alto Records, 1983) 05. Charley Musselwhite - Early In The Morning (4:34) (Stand Back!, Vanguard Records, 1967) 06. John Mayall - Night Flyer (5:34) (USA Union, Polydor Records, 1970) 07. Barry Goldberg - Mess 'a da' Blues (8:38) (Barry Goldberg And Friends, Record Man, 1972) 08. Mike Bloomfield & Al Kooper - Don't Throw Your Love On Me So Strong (10:57) (The Live Adventures Of Mike Bloomfield & Al Kooper, Columbia Records, 1969) 09. Bloomfield-Hammond-Dr John - Cha-Dooky-Doo (3:40) (Triumvirate, Columbia Records, 1973) 10. Electric Flag - Talkin' Won't Get It (4:10) (The Band Kept Playing, Atlantic Records, 1974) 11. Arnett Cobb - Cobb's Blues (9:05) (Again With Milt Buckner, Black And Blue Records, 1973) 12. George Smith - Going Down Slow (3:36) (Boogie'n With George, Murray Brothers Records, 1982) 13. Fabulous Thunderbirds - Tip On In (3:37) (Butt Rockin', Chrysalis Records, 1981) 14. Anson Funderburgh & the Rockets - Rack 'Em Up (2:19) (Rack 'Em Up, Black Top Records, 1989) 15. Jimmy McGriff - Down Home On The Moon (10:05) (A Thing To Come By, Solid State Records, 1970) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Show #1038 Waterman Blues 01. Bukka White - Parchman Farm Blues (2:35) (78 RPM Shellac, Okey Records, 1940) 02. Reverend Gary Davis - Death Don't Have No Mercy (4:43) (Harlem Street Singer, Bluesville Records, 1960) 03. Gina Sicilia - Death Don't Have No Mercy (6:18) (Unchange, VizzTone Records, 2022) 04. Lightnin' Hopkins - Bad Things On My Mind [1953] (2:53) (Out Came The Blues, Ace Of Hearts, 1964) 05. Jesse Fuller - San Francisco Bay Blues [1962] (3:24) (Friends of Old Time Music, Smithsonian Folkways, 2006) 06. Eric Clapton - San Francisco Bay Blues (3:23) (Unplugged, WEA International, 1992) 07. Sonny Terry & Brownie McGhee - Brownie's Blues (5:19) (In London, Nixa/Marble Arch Records, 1958) 08. Son House - Trouble Blues [1960s] (4:58) (The Real Delta Blues, Blue Goose Records, 1975) 09. John Lee Hooker - Hobo Blues [1965] (2:36) (American Folk Blues Festival 1962-1966 Vol. 1, Hip-O DVD, 2003) 10. Mississippi Fred McDowell - Kokomo Blues (2:05) (Delta Blues, Arhoolie Records, 1964) 11. Bonnie Raitt - Write Me A Few Of Your Lines / Kokomo Blues (3:52) (Lenox Music Inn, August 25, 1973) 12. Mississippi John Hurt - Coffee Blues (3:46) (Today!, Vanguard Records, 1966) 13. Lovin' Spoonful - Day Blues (3:14) (Daydream, Kama Sutra REcords, 1966) 14. Elizabeth Cotten - Freight Train (2:46) (Folksongs and Instrumentals with Guitar, Folkways Racords, 1958) 15. Taj Mahal - Freight Train (4:37) (Music Fuh Ya', Warner Bros Records, 1977) 16. Sleepy John Estes - Drop Down Mama (3:16) (78 RPM Shellac, Champion Records, 1935) 17. Bert Deivert & Copperhead Run - Drop Down Mama (3:43) (Blood In My Eyes For You, rootsy.nu, 2015) 18. Skip James - Cypress Grove Blues (3:16) (78 RPM Shellac, Paramont Records, 1931) 19. Robert Connely Farr - Cypress Grove (3:52) (Country Supper, self-release, 2020) 20. Muddy Waters - My Home Is In The Delta (4:01) (Folk Singer, Chess Records, 1964) 21. Doc Watson - You Don't Know My Mind Blues (3:03) (Memories, United Artists Records, 1976) 22. Hugh Laurie - You Don't Know My Mind (3:39) (Let Them Talk, Warner Bros Records, 2011) 23. Willie Dixon & Memphis Slim - Go Easy (5:54) (Willie's Blues, Prestige Bluesville Records, 1959) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Show #1035 Blues Time 01. Tom Hambridge - Blues Don't Care (2:54) (Blu Ja Vu, Quarto Valley Records, 2023) 02. Eddie 9V - Are We Through (3:34) (Capricorn, Ruf Records, 2023) 03. André Bisson - Tail Wags The Dog (4:33) (Latchford, ThinkTank Music, 2023) 04. Teresa James & the Rhythm Tramps - Brand New Flame (4:14) (Rose-Colored Glasses Vol. 2, Blue Heart Records, 2023) 05. Charley Patton - Pony Blues (2:57) (78 RPM Shellac, Paramount Records, 1929) 06. Son House - Pony Blues [1964 or 1965] (4:05) (The Real Delta Blues, Blue Goose Records, 1975) 07. Big Shoes - That's What I Get (For Lovin' You) (4:12) (Fresh Tracks, Qualified Records, 2023) 08. Chicago Mike Beck - Blues Of The World (4:29) (Single, Coast To Coast, 2024) 09. Chickenforce - Blues About You Baby (3:00) (2, Coast To Coast, 2023) 10. Cary Morin - Montana Sky (3:30) (Innocent Allies, Maple Street Music, 2024) 11. Rare Union - Stone Strong (4:55) (Times They Always Change, self-release, 2023) 12. Count Basie Orchestra - Rock Candy (5:26) (Basie Swings The Blues, Candid Records, 2023) 13. Skip James - Worried Blues (5:55) (Devil Got My Woman, Vanguard Records, 1968) 14. Rory Block - Special Rider Blues (4:59) (Hard Luck Child - A Tribute To Skip James, Stony Plain Records, 2014) 15. Sunnysiders - 27 Stitches (3:20) (27 Stitches, Dancing Bear Records, 2023) 16. Albert Cummings - I'm Free (5:00) (Working Man, Blind Pig Records, 2006) 17. Sandy Mack - Never Enuff Rockin' (3:16) (Still Going Strong, Blues Leaf Records, 2009) 18. Christine Santelli - Good Day For A Hangin' (3:46) (Any Better Time, SwingNation/VizzTone Records, 2009) 19. Chris Yakopcic - The Hangover (4:26) (Live At The Hidden Gem, Yako Records, 2023) 20. Dave Keller - Full Measure Of Pleasure (3:05) (It's Time To Shine, Tastee Tone Records, 2023) 21. Bywater Call - Remain (5:42) (Remain, Gypsy Soul Records, 2022) 22. Julien Kasper Band - 8 To 11 (3:43) (The New Imperial, Nugene Records, 2006) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Vanguard Records is best known for its eclectic catalog of pivotal jazz, folk, rock and blues recordings by iconic artists like Joan Baez, Linda Ronstadt, Buddy Guy, Charlie Musselwhite, John Fahey, Buffy Sainte-Marie, Doc Watson, Country Joe and the Fish and countless others. Most recently, Vanguard has carried forward the label's legacy of artistic excellence with a diverse roster including Barenaked Ladies, Indigo Girls, O.A.R. and Collective Soul.Riding the tail end of the popular boom of  commercialized  Folk Music, Vanguard's unexpected mega-hit "Walk Right In" soared to the top of the pop chart.  Looking for a long forgotten treasure to mine, Erik Darling and Bill Svanoe, doing what many had done before them, updated an old string band tune, composed by Gus Cannon and recorded with his Jug Stompers in 1929. They arranged it for TWO 12-String guitars (one of which, a leftie model, had to be specially constructed  for Bill), and adding the mellifluous tones of Lynne Taylor to complete the trio, the magic concoction was brewed to MOR perfection.And, just in time for Gus Cannon, too!  He had recently pawned his banjo to pay his heating bill, and the royalties and national recognition breathed new life into a long dormant career. 

We caught up with Barry Melton, best known as The Fish in Country Joe & The Fish, about how he a Joe McDonald got their start, Vanguard records, Monterey Pop, and how folk became Psychedelic music   more: https://www.barrythefishmelton.com/ Ep 256 #ATJPod @allthatjampod on IG, FB, and Twitter - www.allthatjampod.com - Subscribe - leave a review - tell a friend. Merch: https://t.co/QgtAisVtbV All That Jam is brought to you by Executive Producers Amanda Cadran and Kevin Hogan. Produced and edited by Amanda Cadran and Kevin Hogan. Mixed and Mastered by Kevin Hogan. Original Music by Aaron Gaul. Art by Amanda Cadran.

(Airdate 8/4/23) From growing up in Chicago to gracing stages across the country in her one-woman play - there is no separation between the artist and the activist. Camille Yarbrough is a musician, actress, poet, activist, television producer, and author. She is best known for “Take Yo' Praise,” which Fatboy Slim sampled in his track “Praise You” in 1998. “Take Yo' Praise” was originally recorded in 1975 for Camille Yarbrough's first album, The Iron Pot Cooker, released on Vanguard Records. Her children's book, “Cornrows” published in 1979, was ahead of its time in promoting the acceptance of Black hair as a form of resistance to racism. Cornrows was reissued in April of 2023 and is just as relevant today. www.camilleyarbrough.com

He's Bob Schneider, musician and songwriter extraordinaire. Learn how Bob writes songs, hones his craft and produces music of significance. Bob was born October 12, 1965) is an Austin, Texas–based musician and former lead singer of the rock band Ugly Americans. He has released around a dozen albums, mostly on his own Shockorama label. Lonelyland (2001) was licensed through Universal Records,while in 2005 distribution deal with Vanguard Records saw his albums made widely available.In 2009 he signed to Kirtland Records and put out Lovely Creatures, A Perfect Day, and Burden of Proof. His record The King Kong Suite was released on Shockorama Records in 2015. The son of an opera singer, he moved with his parents to Germany when he was two, while his father received instruction from noted vocal teachers. It led to a marginal existence as “my parents had this big plan, but my dad just didn't have the voice". He learned guitar and piano at an early age, and performed at his parents' parties. Before performing solo, he performed for years in various bands. Bob studied art in college, while performing in his first band, a funk-rock outfit called Joe Rockhead. The band independently released three albums before disbanding.Schneider subsequently performed with Ugly Americans who were an opening act for the Dave Matthews Band.  Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.

He's Bob Schneider, musician and songwriter extraordinaire. Learn how Bob writes songs, hones his craft and produces music of significance. He is an Austin, Texas–based musician and former lead singer of the rock band Ugly Americans. He has released around a dozen albums, mostly on his own Shockorama label. Lonelyland (2001) was licensed through Universal Records,while in 2005 distribution deal with Vanguard Records saw his albums made widely available.In 2009 he signed to Kirtland Records and put out Lovely Creatures, A Perfect Day, and Burden of Proof. His record The King Kong Suite was released on Shockorama Records in 2015.The son of an opera singer, he moved with his parents to Germany when he was two, while his father received instruction from noted vocal teachers. It led to a marginal existence as “my parents had this big plan, but my dad just didn't have the voice". He learned guitar and piano at an early age, and performed at his parents' parties. He studied art in college, while performing in his first band, a funk-rock outfit called Joe Rockhead. The band independently released three albums before disbanding. Schneider subsequently performed with Ugly Americans who were an opening act for the Dave Matthews Band and signed with the revived Capricorn Records.[8] In 1997, Schneider co-founded The Scabs, a funk ensemble that regularly played in around Austin and described as " inspired by The Rugburns (right down to the suits and ties) [with] bawdy show tunes and puerile blues in the beginning, but eventually the powerhouse funk took over when the Grooveline Horns were added".Career In 1999, Schneider formed a solo act, initially under the name Lonelyland, which became the title of his record released through Universal Records. His style has been described as "acoustic based songs with electronic beats and noises in the background and other types of cross genre music. His live shows are known for improvisation [and] audience involvement".[He went on to record the major-label solo albums Lonelyland (2001) and I'm Good Now (2004), which garnered him significantly more national attention and some critical acclaim. "Big Blue Sea" from the Lonelyland album received significant radio play, as did "Come With Me Tonight" from I'm Good Now. "Metal & Steel" from Lonelyland is, to date, Schneider's most played song.The contracts that he signed with Universal in 2001 and Vanguard in 2004 allowed him to release albums as "side projects" on his own Shockorama Records.Among the albums that have been self-released are Galaxy Kings and I've Seen The End of the World and It Looks Like This. All of these side projects were re-released by Vanguard in conjunction with the release of his 2006 album The Californian. Previously, these albums had limited availability as approximately 10,000 copies were produced. After releasing The Californian, Schneider also put out Greatest Hits Live, recorded in Austin on July 17, 2006, on Shockorama Records. He has a long-standing Monday night residency at the Saxon Pub and regularly plays at Antone's, both venues in Austin. His live-band includes Harmoni Kelley (bass), Jeff Plankenhorn (guitars), Conrad Choucroun (drums), Danny Levin (cello) and Oliver Steck (accordion) In 2009, Schneider signed with Kirtland Records and released Lovely Creatures in September 2009. It featured the single "40 Dogs (Like Romeo and Juliet)", which peaked at #14 on the AAA Radio Chart. The album also featured Patty Griffin on the track "Changing Your Mind".He released a second album on the label entitled "A Perfect Day" on April 19, 2011, featuring the single "Let The Light In." "Burden of Proof" was released on June 11, 2013.His next musical project, King Kong, was released in 2015 under the Shockorama label and was the result of a crowdsourcing campaign through PledgeMusic. King Kong saw its release over the course of 2015 in the form of three EPs (volumes collectively known as The King Kong Suite) as well as a full-length album made available to his online backers.In 2017, Schneider began making his massive backlog of recorded demos available to his fans through Patreon. His next album Blood and Bones was released on June 8, 2018.On an episode of The Lone Star Plate podcast, Schneider said he turned down a part in the 2020 Netflix hit The Lost Husband because he didn't want to become an on-screen celebrity.

#783 - Diane Schuur The Diane Schuur Interview on The Paul Leslie Hour. Are you here? If you think I don't know that you're here, listening to The Paul Leslie Hour, well you've got another thing coming. Okay, seriously we've got an interview from the archives with Diane Schuur. This was broadcast on FM radio years ago and hasn't been heard since. Did you know that we have a lot of archival interviews like this just waiting to get heard. You can help us in our mission to get all of this content out there. Be a patron of the spoken word and supporter of independent media. Just go www.thepaulleslie.com/support This interview with Jazz legend Diane Schuur was conducted by Paul E. Leslie just after she released her album “The Gathering,” on Vanguard Records. Although Diane Schuur is one of jazz's leading singers, “The Gathering” is a collection of country songs mostly written during the 1960s. Produced by Steve Buckingham, the album features Alison Krauss, Vince Gill, Larry Carlton, Mark Knopfler, and Kirk Whalum. Diane Schuur or “Deedles” as she is called by fans and friends alike, has a career spanning more than 40 years. She's collaborated with the likes of jazz trumpeter Maynard Ferguson, the Count Basie Orchestra, the Caribbean Jazz Project, Stevie Wonder, Barry Manilow, Ray Charles, and bluesman B. B. King. She is a Grammy award-winner and it we think the word “legend” suits her perfectly. Now let's get into the interview. The Paul Leslie Hour - Helping People Tell Their Stories is a talk show with new episodes every Monday, Wednesday and Friday. Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

In the newly rebranded Marketing Studio, Ian Truscott and regular guest, rockstar strategy advisor Jeff Clark, former Research Director at SiriusDecisions/Forrester, discuss the process of naming a brand, whether it's a company, a product, or a new service that you offer. Ian chats with Michelle Andersen, a marketing communications professional with a career spanning more than 20 years that started as a music publicist, working with Lawrence Welk-owned Vanguard Records, and evolved through working with consumer technology brands from the dawn of the internet, a stint in philanthropy, and now deep into the next iteration of technologies like IoT and Web3. As you'll hear, her work and career have been led by her passions, almost always involving music and technology. Michelle recently joined NextTech Communications, a women-led agency born from The Bliss Group, as vice president. And we wind down the week in the Rockstar CMO virtual bar with Robert Rose, Chief Trouble Maker at The Content Advisory, who transports us away with a cocktail to discuss how we are all exhausted, but need to raise the bar. If you have any thoughts or suggestions on the topics we discuss, please let us know. Enjoy! The people: Ian Truscott on LinkedIn and Twitter Jeff Clark on LinkedIn and Twitter Michelle Anderson on LinkedIn and Twitter Robert Rose on Twitter and  LinkedIn Mentioned in this week's episode: How to Choose Your Brand Name in 5 Simple Steps by Katy French on Column Five Media NextTech Communications Robert's The Content Advisory Blog Robert's latest project: Experience Advisors Rockstar CMO: Rockstar CMO on the web, Twitter, and LinkedIn Previous episodes and all show notes: Rockstar CMO FM Rockstar CMO Advisors Track List: Piano Music is by Johnny Easton, shared under a creative commons license We'll be right back – Stienski & Mass Media – on YouTube Firefly by The Black Angels – on Spotify Pride (In The Name of Love) by U2 – on Spotify Learn more about your ad choices. Visit megaphone.fm/adchoices

Sons of a tenant farming family, Alton Delmore and his baby brother Rabon grew up dirt poor in Elkmont, Alabama, in the 1920s, but they were rolling in another kind of riches: Music, the melodies and lyrics they heard it all around them and that they would bring to the rest of us.The boys' mom, Mollie Delmore, wrote and sang gospel songs for their church. When Alton and Rabon later fashioned themselves in one of America's first supergroups, The Delmore Brothers, they helped create the still-emerging genre of country music by blending those tight gospel-style harmonies with blues and the quicker guitar-work of traditional folk music.The Delmores made their first recording for Columbia in 1931 ("I've Got the Kansas City Blues" and "Alabama Lullaby" which became their theme song.) Two years later, they signed a contract with Victor Records budget label Bluebird, and for it on Dec. 6, 1933, they recorded the tune that they called “I Got The Big River Blues.” Music historians think the song probably was inspired by the cataclysmic flood of 1927 along the lower Mississippi River, a landmark moment in American history — and in music history — which left a trail of loss and damage through at least 10 states. It was a song that helped The Delmore Brothers become regulars — and soon the most popular act — on radio's then-new Grand Ole Opry variety program.Enter Doc WatsonMeanwhile, over in North Carolina, Doc Watson was 10 years old when that Delmore Brothers record came out. Young Doc — well, he was still “Arthel” to everyone in Deep Gap, NC, back then — was already interested in music, playing harmonica and teaching himself banjo, and he was three years away to starting his mastery of the guitar. The story goes that one day Watson's father, hearing Arthel plucking chords on a borrowed guitar, promised to buy the boy his own guitar if he could teach himself a song by the end of the day. The youth taught himself The Carter Family's “When the Roses Bloom in Dixieland,” and a week later he was the proud owner of a $12 Stella. (He would be a few years before he got his D-18.)But back to the song, Watson always said he first heard the song from the Delmores, but he fashioned his famed 1964 rendition as he thought his hero Merle Travis would play it, with a heavy emphasis on the thumb being used to thump out a driving bass line. (For that Vanguard Records album, he also renamed the song “Deep River Blues,” which is why a lot of us thought Doc wrote it.)In an Acoustic Guitar magazine interview a few months before his death in 2012, Doc said he wanted to play the tune as soon as he heard it, but that he couldn't manage to make it sound good enough with just one guitar… that is, until about 1939 when he first heard that cool Travis picking style on the radio. He said he figured that if he could get that big bass working, maybe he could at least do the song. And he did and he did.Our Take on the TuneThroughout the winter and this spring, our newest band mate, Danny Cox, has been having one-on-one weekly jam session with his old buddy, bassist Randy Hamilton, and sometimes they bring tunes they've work out to the regular weekly Flood rehearsal for the rest of us to get in on the fun. Now, over the the years, we've tried to work out a Flood arrangement of “Deep River Blues,” but it never really took, until recently when Randy and Danny brought in what they'd wrought. And as you can hear on this track, we're all pretty excited about it. Click here to hear our first take on “Deep River Blues,” with Randy singing the lead!Postscript for the Folkies Amongst UsFinally, if this is the sort of tune that soothes your soul, then you're probably — like us — unreconstructed folkies. If you'd like another serving or two (or 20 or so), check out the band's Folk Channel on our Radio Floodango music streaming feature by clicking here. 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

Welcome back, festival friends. On this episode of festivalPass Stories, our host, Pat Tully, sits down with a guy who was born in the home of The Blues, Memphis. When you grow up there, the music is in your blood. Jim Ethridge knows all about that.   The founder of “Lost Art Music Festival” started his music career when he began hosting a radio show at the University of Georgia. Upon graduating, he immediately went to work for Vanguard Records and then onto a digital marketing agency where he worked directly with talent and brands on major campaigns. He then joined City Winery and helped to grow the company to multiple US Cities beyond NYC where it all started.   At City Winery, a live music venue focused on intimate entertainment and fine food and drink, he got the idea too launch a festival for fans of his favorite music and what he calls “The best in Americana.” Now in it's second official year (after a forced Covid pause), the festival will feature some of the best blues and Americana music. It takes place at the Foxhall Resort outside of Atlanta. Festival attendees can expect a true hospitality experience like they would get at City Winery, with great beer, wine and food options. Presented by Cathead Distillery, VIP packages are available and camping packages are available as well. To find out more about the festival and buy tickets/packages check out the information below: Lost Art Music Festival website: https://lostartmusicfest.com/ Follow them on Instagram: https://www.instagram.com/lostartmusicfest/   Connect with Festival Pass! Facebook - https://www.facebook.com/getfestivalpass/  Instagram - https://instagram.com/festival_pass/  Twitter - https://twitter.com/pass_festival  Website - https://festivalpass.com

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Baez, Joan. “María Dolores.” Maria Dolores. Vanguard Records, 1971. 7” Record. Monk, Thelonious. “Jackie-ing.” The Great Jazz Trio/Monk's Moods. DENON, 1984. CD. LP. Getz, Stan. “East of the Sun.” Stan Getz.” Object Enterprises LTD. 1991. CD. LP. Peterson, Oscar. “Over the Rainbow.” A 75th Birthday Celebration.” Verve Records, 2000. CD. LP. Interrupters, The. “Media Sensation.” Say It Out Loud. Hellcat/Epitaph Records, 2016. Vinyl. LP. Peterson, Oscar. “City Lights.” Oscar Peterson Live.” Pablo Records, 1990. CD. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Buddy Guy – A Man & the Blues A Man & the Blues, Vanguard Records 1968, ahora recién reeditado en vinilo remasterizado a través de Craft Recordings El título del debut en el sello Vanguard Records de la leyenda del blues de Chicago Buddy Guy, A Man & the Blues, no podría haber sido una descripción más adecuada de la primera grabación para capturar realmente la energía caótica del guitarrista y el talento rompedor de géneros.

(Get Surfshark VPN at https://surfshark.deals/MOXIE - Enter promo code MOXIE for 83% off and 3 extra months free!) T-shirt for Ukraine Why did no one tell me about Moms Mabley?!!  Hear about her and other 'living loud and proud' ladies (Dorothy Parker, Mae West, Tallulah Bankhead) on this International Women's Day. 01:00 Tallulah Bankhead 13:00 Mae West 23:00 Moms Mabley Links to all the research resources are on the website. Hang out with your fellow Brainiacs.  Reach out and touch Moxie on Facebook, Twitter,  or Instagram.  Become a patron of the podcast arts! Patreon or Ko-Fi.  Or buy the book and a shirt. Music: Kevin MacLeod, David Fesilyan, Dan Henig. and/or Chris Haugen. Sponsors:  Dumb People with Terrible Ideas, History Obscura, Sambucol Want to start a podcast or need a better podcast host?  Get up to TWO months hosting for free from Libsyn with coupon code "moxie." Dorothy Parker was a famously wry, witty, and acerbic writer and critic, with a low opinion of relationships.  Her wit was apparent from an early age, referring to her father's second wife as “The Housekeeper.”  She was described by journalist and critic Alexander Woolcott as “a combination of Little Nell and Lady MacBeth.”  As a literary critic, she said of one book, "This is not a novel to be tossed aside lightly. It should be thrown with great force." The author of the book?  Italian dictator Benito Mussolini.  My name's Moxie….   This episode drops on Intl Womens Day, and I've covered a lot of remarkable women on the show, for a number of remarkable reasons, but today we focus on ladies for their remarks, for their wit and their wild ways.  Tallulah Bankhead is a name I've known for many years, but never really knew anything about her.  Back in the day, going to the big “computer show and sale” at the raceway complex with my dad, circa 1996, I picked up some cd-roms of FVM video games and some educational stuff like Microsoft Encarta Musical Instruments and some reference that included hundred of famous quotes.  Some of you I realize will have no idea what I just said, a few of you will be unclear what a cd-rom is, but a few of you just got a cold chill like someone walking across your grave.  Tallulah Bankhead's wit featured prominently with quotes like, "If I were well behaved, I'd die of boredom," “I read Shakespeare and the Bible, and I can shoot dice. That's what I call a liberal education," and "I'll come and make love to you at five o'clock. If I'm late, start without me."  ‘I like her,' I thought, but didn't look into who she actually was until this week.  Considering she's the inspiration for one of Disney's most iconic villains, you'd think I'd have come across something between then and now, but not.   Bankhead, the daughter of an Alabama congressman and future speaker of the House, was named after her paternal grandmother, whose name was inspired by Tallulah Falls, Georgia.  That grandmother would raise her when her mother died a few days after her birth and the loss sent her father into a pit of depression and alcoholism.  Little Tallulah was… difficult.  Tallulah discovered at an early age that theatrics were a viable outlet for gaining the attention, good or bad, that she craved.  A series of throat and chest infections as a child had left her with a raspy voice which would later become her trademark.  It also made her stand out from her classmates, but Tallulah was not the type to be bullied and soon became the terror or students and the bane of teachers.  She would find herself sent to, and expelled from, two different convent schools, the first for once for throwing ink at a nun and the next time for making a pass at one.   At 15, Bankhead submitted her own photo to film industry magazine Picture Play, winning a small part in a movie and a trip to New York.  She was allowed to go only by promising her father, a Congressman, she'd abstain from men and alcohol, but as she famously put it in her autobiography, "He didn't say anything about women and cocaine."  She was a self-described "technical virgin" until 20.  Though she lacked training and discipline, she possessed a dazzling stage presence, her husky voice providing fascinating contrast with her good looks.  Quickly ascending to stardom, she just as easily gained renown for her quick-witted outspokenness and indefatigable party going.  In New York, Bankhead moved into the famous Algonquin Hotel, a hotspot for the artistic and literary elite of the era, and was quickly rubbing shoulders with the rich and famous.   After several years starring in films and on stage in New York, Bankhole's acting was praised, but she had not yet scored a big commercial hit.  So, she moved to London in 1923, where her stardom grew. Her fame heightened in 1924 when she played Amy in Sidney Howard's They Knew What They Wanted. The show won the 1925 Pulitzer Prize.     But Bankhead was best known for her antics off-stage.  She'd drive her Bently recklessly through London and if she got lost, she'd hire a black cab to drive to where she was going and she'd follow him.  She spent her nights at booze and drug-filled parties, partaking liberally, and reportedly smoked 120 cigarettes a day, which is kind of dubious because how would you have time for anything else.  She also openly had a series of relationships with both men and women, including some very famous female personalities of the day.  Names attached to her, with or without facts to back it included Greta Garbo, Hattie McDaniel, the first AfrAm actress to win an Oscar, and singer Billie Holiday.   One thing that's known with great certainty is that she talked openly about her vices, and women just weren't supposed to do that.  Hell, they weren't supposed to *have vices.  She found herself included in Hays' "Doom Book", which would help her inspire a Disney villain, since only the worst of the worst were in the Doom Book, but it didn't do much for her career.  Brief refresher on the Hays Code, and you can hear lots more about it in the episode Words You Can't Say on TV or Radio, way back in Oct 2018 before I started numbering episodes, the Hays Code a set of strict guidelines all motion pictures companies operated under from 1934 to 1968.  It prohibited profanity, suggestive nudity, sexual perversions like homosexuality, interracial relationships, any talk of reproductive anything, and, in case you were unclear where all this came from, it banned ridicule of authority in general and the clergy in particular.  This is why married couples in black&white sitcoms slept in separate beds.  The Doom Book, which was either a closely guarded secret or never physically existed, was said to have contained the names of over 150 thespians considered too morally tumultuous to be used in movies.  So this is the law of the land when a gal like Tallulah Bankhead is running around in cursing like a sailor in hedonistic, drug-fueled, openly-bisexual glee.     Giving up on Hollywood, Bankhead returned to Broadway for a decade or so, where she reached her zenith with her performances in The Little Foxes and The Skin of Our Teeth, both of which earned her the New York Drama Critics Circle Award, and was briefly married to actor John Emery.  [a la Sam O'Nella] Never heard of him?  Me neither.  What's his story?  I didn't bother.  In 1943 she decided to give Hollywood a second try, but Hollywood hadn't had the same thought about her.  There was one bright spot, being cast in and praised for Alfred Hitchcock's Lifeboat in 1944.   By the late 1940s and early 1950s, Bankhead's hedonistic lifestyle and excessive drinking had taken its toll.  Critics complained that she had become a self-caricature, which feels like a real oof.  She kept her career afloat by publishing a best-selling autobiography, touring in plays like Private Lives and Dear Charles, before headlining her own nightclub act.  In 1965 she made her last *film appearance, playing a homicidal religious fanatic in the British thriller Die! Die! My Darling!  Tallulah Bankhead's final acting assignments included a “Special Guest Villain” stint on the TV series Batman.  When she was advised that the series was considered “high camp,” her response was vintage Tallulah: “Don't tell me about camp, dahling! I invented it!”   Am I ever going to tell you which Disney villain she inspired?  I supposed, if I must.  Disney animator Marc Davis once told of his creative process when tasked to create the villain for an upcoming film.  (It was 1961 if you want to try to guess.)  The chaaracter would become iconic, instantly recognizable whether cartoon or real life.  Davis looked to real-life "bad" women, and while he said there were a number of different people who he kept in mind while drawing her, one name rose to the top – Tallulah Bankhead.  So no matter if her movie or Broadway career is forgotten, Bankhead will always live on as Cruella de Ville. Mae West   When she was good, she was very good. But when she was bad, she made film history. Whether making films, writing plays or flirting with the camera, Mae West was undisputedly the most controversial sex siren of her time and she even landed in jail because of it.  She was the queen of double entendres on and off screen, delivering some of the best-remembered quips in movie history.  You know the line, "Is that a gun in your pocket, or are you just happy to see me?", yeah, that was West In "She Done Him Wrong." in 1933.   Mary Jane West was born on Aug. 17, 1893 in Queens, NY to a boxer turned cop and a former corset and fashion model.  The acting bug bit the heck out of West when she was tiny, bringing home talent show prizes at age 5.  At age 12, she became a professional vaudeville performer.  She was secretly married at age 17, but only lived with her husband for a few weeks, though they didn't legally divorce for 31 years. The adult West was rumored to have secretly married another man, but on the whole she preferred younger men. Her long-term partner Paul Novak was 30 years her junior.   West was also rumored to have worn custom 8 in platform shoes, because she was only 5'2”.  Two tangents, I would have *massive respect for anyone who could even walk in 8in platform, and that's something all the women in today's discussion have in common - they're all my size.   In 1926, under the pen name "Jane Mast," West wrote, produced and starred in a play called Sex, about a sex worker named Margie La Monte who was looking to better her situation by finding a well-to-do man to marry well if not wisely.  Mae West was sentenced to 10 days in prison and given a $500 fine, charged with “obscenity and corrupting the morals of youth.”  The rumor mill went into overtime when she was behind bars –  she was permitted to wear silk underpants instead of prison-issue or the warden wined and dined her every night.  West was set free after serving eight of the ten days and remarked to reporters that it was “…the first time I ever got anything for good behavior.”  Before the show was raided in February of 1927 around 325,000 people had come through the turnstiles.  Buns in seats, laddie, buns in seat.   Not bothered in the slightest, and probably keenly aware of all the free publicity she just got, West appeared in a string of successful plays, including "The Drag," a 1927 play that was banned from Broadway because of its homosexual theme.  If you think people try to tell you what to say these days, imagine having to deal with the likes of the Hays Code or the Catholic Legion of Decency, which I maintain sounds like a pro-wrestling tag team.  She was an advocate of gay and transgender rights, which were at the time generally throught to be the same thing, and her belief that "a gay man was actually a female soul housed in a male body" ran counter to the belief at that time that homosexuality was an illness.  Her next play, The Pleasure Man ran for only one showing before also being shut down with the whole cast being arrested for obscenity, but this time getting off thanks to a hung jury.  West continued to stir up controversy with her plays, including the Broadway smash "Diamond Lil" in 1928, about a loose woman of the 1890s.     Dominating the Broadway scene was nice, but West had her eyes set to the, well, to the west and Hollywood.  West was 38 years old at the time, which is the age when the phone stops ringing for many actresses, but Paramount Pictures offered West a contract at $5000 a week ($80,000 now) and –luckily for all of us or I might not be talking about her right now– they let her re-write her lines.  Her first film, Night After Night, set the tone for her on-screen persona right from jump street, from her first line where a hat check girl says to her “Goodness, what beautiful diamonds.” To which West replied, “Goodness had nothing to do with it, dearie.”  Within three years she was the second highest paid person in the United States.  The only person earning more was the publishing magnate friggin' William Randolph Hearst.     West not only made her own career, she insisted a young Cary Grant be cast opposite her, putting Grant on the road to his Golden Age icon status.  That was ‘33's "She Done Him Wrong," which contained her most famous quote, but I'm sorry to tell you that you've been saying it wrong your whole life.  Yes, your whole life.  You've seen it parodied in cartoons.  The line isn't  "Why don't you come up and seem me sometime?" "Why don't you come up some time and see me?"  Am I being painfully pedantic to point this out?  Yes. …. That's all.   The public loved Mae West, but her blunt sexuality onscreen rubbed censors the wrong way.  In 1934, they began deleting overtly sexy lines and whole scenes from her films. Not about to take that lying down, West doubled up on double entendres, hoping that the censors would delete the most offensive lines and miss the subtler ones.  More controversial films followed.  West was already 50 when she made "The Heat's On," but her youthful look and performance made the film a cult favorite.  She also got banned from the radio for a sketch about Adam and Eve opposite Don Ameche, was on TV a few times, and even recorded two successful rock albums, decades before the late Christopher Lee.  Bonus facts: Cassandra Peterson, aka Elvira Mistress of the Dark, was once the lead singer of an Italian punk rock band.     MIDROLL   The script for this episode started with Bankhead, West, and Dorothy Parker.  I recognized that they were demographically pretty similar, though Parker was Jewish and there's a wild theory out there that West was mixed-race, so I started asking around for WOC/LGBT of that same era and one name came up again and again, a name I'd never heard of, an oversight I now know to be a damn shame if ever there was one.  Presenting for the elucidation of many listeners, Moms Mabley.  Moms, plural not possessive, had been a vaudeville star for half a century on what was called the Chitlin Circuit, before white audiences began to discover her.  Her trademarks were her old lady persona, complete with house coat, dust cap and waddling shuffle, and her raunchy, man-hungry humor, which is funny in a few ways when you consider she was an out-and-proud lesbian.   Although Moms spent her professional life making people laugh, her personal life had more than its share of grief.  If you're not in the mood for tragic backstory, I totally understand if you want to hit your jump-30 button.  Born Loretta Mary Aiken in North Carolina in 1894, Moms was the grandaughter of a slave and one of 16 children.  She was the victim of rape twice before the age of 14, once by an older black man and the other by the town's white sheriff.  Both rapes resulted in pregnancies; both babies were given away.  Loretta's father, a volunteer fireman, had been killed when a fire engine exploded, and her mother was run over and killed by a truck while coming home from church on Christmas Day.  Her stepfather forced her to marry a man she didn't even like, one assumes to pare down the number of dependent minors in the house.  At the age of 14, Loretta ran away to join a minstrel show.  A young girl out in the world on her own would normally be a recipe for disaster, heartache and suffering, but Moms had already had enough of all those, thank you very much.  She took the name Mabley from her first boyfriend and acquired the nickname Moms later on, though none of my sources, and they are regrettably few and superficial, recounted why.  She was only in her early 20's when she devised the old lady character and kept her persona up until her actual age exceeded the character.   Like all who played vaudeville, she had multiple talents: dancing, singing, jokes. Unlike many of her contemporaries, she had a gift for crafting original material far stronger than the stock routines others toured with. At the prompting of the vaudeville team Butterbeans and Susie, she moved to New York City in the early 20's and found herself in the the Harlem Renaissance. "I never went back across the Mason-Dixon line," recalled Mabley. "Not for another thirty years."  Toward the end of her life, Moms would say “There were some horrible things done to me.  I played every state in the Union except Mississippi.  I won't go there; they ain't read.”  She hardly needed to back then anyway, playing the Apollo so often she could probably have gotten her mail forwarded there.   There used to be a showbiz expression, “It won't play in Peoria,” meaning something will not be successful for a wide, Joe Everyman (read: white) audience, and Moms certainly fit that bill.  Moms talked about sex constantly.  That's not surprising from female comics these days, though it still isn't as acceptable as it is for male comics.  But unlike the male comics of Mom's day, she slid into the jokes sideways with a double-entendre or a well-placed pause, rather than the straightforward use of obscenity that would become popular with such later black comedians as Richard Pryor.  Although Loretta herself was a lesbian, Moms was that of ''dirty old lady'' with a penchant for younger men.  She made fun of older men, subtly ridiculing the ways they wielded authority over women as well as the declining of their sexual powers. Her signature line became: ''Ain't nothin' an old man can do for me but bring me a message from a young man.''   She moved from vaudeville into films, but Hollywood wasn't exactly rolling out the red carpet for black actors and film-makers.  That's okay, they said, we'll just do it ourselves.  As early as 1929 there were over 460 "colored movie houses" across America. owned and operated by, and catering specifically to, African-Americans, with all-Black cast films, shorts, and even newsreels.  But it would be fair to say that these were B-movies, filmed in a couple of days, with whatever equipment and people you could cobble together.  Hell, scenes were usually shot in one take, because editing requires more time and money.  Where they shone was in the musical numbers, crafting scenes that would have shamed MGM or Warner Brothers, if only they'd had any budget at all.  Comedian Slappy White remembered, "It wasn't hard casting the actors. All of us were out of work before the picture started [and we] would all be out of work again as soon as it was finished."   Moms starred in 1948's Boarding House Blues where she played landlord to a building of rent-dodging vaudeville performers, which is an amazing premise. The film also showcased "Crip" Heard, a tap dancer with only one arm and one leg. And the best thing about Boarding House Blues?  You can actually see it!  It's on the free Tubi app, link in the show notes, not a sponsor, and I plan to watch it as soon as I can make myself sit still for 1.5 hours.  Watch-party anyone?   Film was nice and everything, but it was vinyl records that gave Moms the boost she needed to expand her audience.  Comedy records were *the thing in the early 60's.Her first vinyl appearance came a few years prior with the 1956 Vanguard Records release A Night at the Apollo. The album is a fascinating social document with liner notes written by Langston Hughes.  Of the many other noteworthy things about that album is the fact that Moms wasn't paid for her part in it.  So she was understandably reluctant when the Chess brothers asked her to cut an album with them.  Phil and Leonard Chess were Jewish immigrants who arrived in Chicago a few months prior to the stock market crash who were able to buy some South Side bars after the end of prohibition.  Their Macomba Lounge became a hot spot when they started booking live music, mostly rhythm and blues, which drew in the biggest crowds.  The brothers noticed this, and that the acts who had people lining up around the block, weren't available on records, so they started a record company.  Chess Records signed names like Muddy Waters, Howlin' Wolf, Bo Diddley, and Chuck Berry.  These records delivered new found joys for the white public and offered posterity for Chicago's African-American crowd.  Always on the lookout for what was popular with their original Black audience, Chess Records asked Moms Mabley to sign, but she understandably didn't want to get screwed again.  Luckily her manager was able to persuade her and Moms Mabley on Stage (also known under the name Moms Mabley: The Funniest Woman Alive) was produced.    Chicago was host to Hugh Hefner's Playboy Club, a venue that always featured a strong roster of Black performers and plenty of white bohemians, and that's where she recorded Moms Mabley at The Playboy Club.  Y'all gotta see this album cover, link in the shownotes.  If you were to listen to On Stage and then Playboy Club, you'd notice something…different between the two albums.  On Stage was recorded at The Apollo and opens with a thunderous cacophony of cheerings.  Playboy Club, not as much, because that album was recorded in front of an all-white audience.  It was time for a cross-over.  It was also the time for civil rights –lunch counters, fire hoses, marches.  Mabley's act became increasingly political, but her benevolent old grandma persona made her non-threatening and more accessible to white crowds. Moms knew white audiences needed to hear her message now, and that they might actually hear her.  She was just a little old lady, shuffling onto the stage, how threatening could she be?  Plus she was on the biggest TV shows of the day –Merv Griffin, Johnny Carson, Flip Wilson, Mike Douglas, the Smothers Brothers– and they were okay, so she must be okay.   Moms had crossed over.  She played Carnegie Hall and the Kennedy Center.  She put out more albums, including my favorite title, Young Men Si, Old Men No.  She began acting in big studio films, like The Cincinatti Kid, with Steve McQueen.  In 1966 Moms returned to the South for the first time in over three decades.  It, uh, didn't go great.  In the middle of her show, five shots rang out in the theater and Moms scrambled off-stage.  Thankfully, the shots went nowhere near her, originating apparently from a fight between audience members.  Regardless, a story made the rounds that one of the bullets went straight through her floppy hat.  "I hadn't been in Columbia, South Carolina, for thirty-five years," explained Moms, "and [now] bullets ran me out of town."    Music became a regular part of her act, and a cover version of "Abraham, Martin and John" hit No. 35 on the Billboard Hot 100 on July 19, 1969, making Mabley, at 75, the oldest living person to have a U.S. Top 40 hit.  Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.[24] While filming the 1974 film Amazing Grace, (her only film starring role)[1] Mabley suffered a heart attack. She returned to work three weeks later, after receiving a pacemaker.  She is survived not only by her children (she had four other children as an adult), but by more contemporary comedians who remember her and want to keep her story alive.  She was the subject of a Broadway play by Clarice Taylor, who played one of the grandma's on the Cosby Show; two projects from Whoopi Goldberg, one being the comedy show that put Goldberg on the map in 1984 and a documentary in 2013, and in season 3 of The Marvelous Mrs. Maisel, where she was portrayed by lifelong fan Wanda Sykes.   And that's… Dorothy Parker's wit was, deservedly, the stuff of legend.  Of the Yale prom, she said, “ If all the girls attending it were laid end to end, I wouldn't be at all surprised.”  It was that saucy humor that got her fired from her job as a staff writer at Vanity Fair.  Parker spoke openly about having had an abortion, a thing that simply was not done in the 1920's, saying, “It serves me right for putting all my eggs in one bastard.” A firm believer in civil rights, she bequeathed her literary estate to Dr. Martin Luther King, Jr.  Remember   Sources: https://www.tcm.com/tcmdb/person/204532%7C103917/Mae-West/#biography https://www.britannica.com/biography/Mae-West https://www.mentalfloss.com/article/52283/13-things-you-might-not-know-about-mae-west http://www.todayifoundout.com/index.php/2012/04/this-day-in-history-mae-west-is-sentenced-to-10-days-in-prison-for-writing-directing-and-performing-in-the-broadway-play-sex/ https://www.britannica.com/biography/Tallulah-Bankhead https://www.vanityfair.com/hollywood/2021/05/real-cruella-de-vil-tallulah-bankhead https://www.nytimes.com/1987/08/09/theater/theater-the-pain-behind-the-laughter-of-moms-mabley.html https://dorothyparker.com/gallery/biography https://bookshop.org/books/your-brain-on-facts-things-you-didn-t-know-things-you-thought-you-knew-and-things-you-never-knew-you-never-knew-trivia-quizzes-fun-fa/9781642502534?aid=14459&listref=books-based-on-podcasts https://www.mamamia.com.au/tallulah-bankhead-cruella/  

Tim Gane and his then partner, French singer Lætitia Sadier, the band took its name from Vanguard Stereolab, a subsidiary of Vanguard Records that specialized in hi-fi effects.

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Curtis Mayfield, Ice-T. “Superfly 1990 (Mantronix Remix Edit).” Superfly 1990. Capitol, 1990. Vinyl. EP. Davis, Gary. “If I had My Way.” Great Blues Men, The. Vanguard Records, 1972. Vinyl. 2LP. Living Color. “Solace of You.” Time's Up. CBS Records, 1990. CD. LP. Kirk, Roland. “Mood Indigo.” Kirk in Copenhagen. Mercury Records, 2004. CD. LP. Franklin, Erma. “I'm Just Not Ready For Love.” I'm Just Not Ready For Love / The Right To Cry. Shout Records S-234, 1968. 7” Vinyl. Abu-Jamal, Mumia. “Father Hunger.” Mumia Abu-Jamal Spoken Word with Music by Man is the Bastard. Alternative Tentacles , 1997. CD. LP. Bradly, Charles. “The Word (Is Going Up In Flames).” No Time for Dreaming. Daptone Records, 2011. Vinyl. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Esta semana platicamos con Allan Tucker acerca de vivir en un kibbutz, la industria musical en los 60s y 70s, y encontrar una solución cuando no parece haber alguna mientras tomamos un mezcal 400 Conejos. Playlists Rudy: https://spoti.fi/3ow9eGx Tucker: https://spoti.fi/3gwvdsg   Contacto Tucker: marc.foote193 Rudy: rudy.podcast

TRUE HOUSE STORIES W/ RAY PINKY VELAZQUEZ # 069 - PART 2 Ray Pinky Velazquez known as the DJ, Artist, A&R, Remixer and Editor speaks about his beginnings of 99 Prince Street Record Pool. He leaves that pool to join Eddie Rivera's IDRC Record Pool and because of that move, Eddie helps put him forward for the A&R Consultant at Vanguard Records. In this part he explains what it was like working for older owners of a famous jazz label looking to step into Disco and all the wonderful records he was responsible for during his time at the label.

Back in the early ‘80s, Brooklynite Alisha Ann Itkin was pretty much your average American teenager. Outgoing yet a bit timid onstage, she shined as a cheerleader, and scored roles in school plays and functions. Oh, and she was also an outstanding vocalist who began training at the age of 8 with the support of her parents, Lillian and Al.As fate would have it, a demo of hers recorded with a rock band called The Babysitters landed in the lap of then Vanguard Records engineer and producer, Mark Berry, already established with his work on landmark records such as Carly Simon's “You're So Vain,” and Man Parrish's “Hip Hop (Be Bop)”.Berry chose Alisha to lay vocals on a track written by Rick Tarbox, featuring lyrics that seemed somewhat racy for a girl her age. Alisha's performance, however, embodied feelings of desire to full effect, coupled by an extravagant reverb-filled production that signaled a new era in Dance music.Recorded in the summer of 1983, and released in early 1984, “All Night Passion” was played in virtually every club in New York City, crossing the Atlantic with ease. Four decades later, it still withstands the test of time as one of the era's best freestyle jams.Show TracklistingCabaret (Alisha - Extract from "Alisha - The Rise of an '80s Icon" documentary)If You Read My Mind Demo (Alisha - Extract from "Alisha - The Rise of an '80s Icon" documentary)You're So Vain (Carly Simon)Hip Hop (Be Bop) (Man Parrish)All Night Passion - Album Version (Alisha)All Night Passion - Extended Remix (Alisha)(You Wanna Be A) Superstar (Alisha)Host and Producer: Diego MartinezExecutive Producer: Nicholas "NickFresh" PuzoAudio Engineer: Adam Fogel Follow us on social media: @choonspod

Show #880 That's Old An episode with music of 40-plus years old. 01. ZZ Top - Precious And Grace (3:10) (Tres Hombres, London Records, 1973) 02. Taj Mahal - Bacon Fat (6:40) (Giant Step/De Ole Folks At Home, Columbia Records, 1969) 03. Dr. Feelgood - Drop Everything And Run (3:14) (Let It Roll, United Artists Records, 1979) 04. Sonny Jones - Love Me With A Feeling [1939] (2:51) (Carolina Blues Guitar 1936-1939, Old Tramp Records, 1994) 05. Memphis Slim & Canned Heat - Trouble Everywhere I Go (3:50) (Memphis Heat, Blue Star Records, 1974) 06. Johnny Burnette Trio - Chains Of Love [1956] (2:32) (The Legendary Johnny Burnette Rock'n'Roll Trio, Charly Records, 1984) 07. Fenton Robinson - Checking On My Woman (3:26) (Somebody Loan Me A Dime, Alligator Records, 1974) 08. Mississippi John Hurt - Spike Driver Blues (2:30) (Avalon Blues, Rounder Records, 1963) 09. Doc Watson - Spikedriver Blues (2:39) (Doc And The Boys, United Artists Records, 1976) 10. Charley Musselwhite Blues Band - Bag Gloom Brews (9:09) (Stone Blues, Vanguard Records, 1968) 11. Ruth Brown - Daddy Daddy (2:52) (Rock & Roll, Atlantic Records, 1957) 12. Charles Carson - Time Has Expired [1962] (2:22) (Gumbo Stew, Ace Records, 1993) 13. Son Seals - Telephone Angel (5:27) (Midnight Son, Alligator Records, 1976) 14. Dorothy Ellis - Slowly Going Out Of Your Mind [1952] (Rare Blues Girls From King, Sing Records, 1988) 15. Sonny Boy Williamson II - Lonesome Cabin [1960] (3:01) (Bummer Road, Chess Records, 1969) 16. Flavium - Nightlife (3:44) (No Kiddin', Polydor Records, 1979) 17. JB Lenoir - If I Get Lucky [1966] (3:00) (Vietnam Blues, Evidence Records, 1995) 18. John Sebastian - Harpoon (2:21) (Tarzana Kid, Warner Bros, 1974) 19. Paula Lockheart - Black Mountain Blues (3:48) (It Ain't The End Of The World, Flying Fish Records, 1979) 20. Frankie Miller - Mail Box (3:13) (Once In A Blue Moon, Chrysalis Records, 1972) 21. Johnny Mars - Cruisin' (3:18) (Johnny Mars And The Oakland Boogie, Big Bear Records, 1976) 22. Little Bill Gaither - Moonshine By The Keg [1941] (2:46) (Booze & The Blues, Columbia Records, 1996) 23. John Lee Hooker - One Bourbon, One Scotch, One Beer [1966] (3:02) (Chess Chartbusters Vol. 4, Chess Records, 2008) 24. John Dummer Blues Band - Nine By Nine (3:16) (John Dummer's Famous Music Band, Fontana Records, 1970) 25. Kenny Burrell & Jimmy Smith - Blues For Del (6:11) (Blue Bash!, Verve Records, 1963) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

"LIVE FROM THE NEWPORT FOLK FESTIVAL,1963":https://strangerintown.podcastpeople.com/posts/51091

Dooner’s World – Episode 76 – Dick Waterman – Blues Photographer, Author, and Legend Introduction · Sport writer from Massachusetts · Started Avalon Productions in Mississippi representing older Blues artists in 1964· Author and Photographer:o Between Midnight and day o B.B. King – Treasures – written with B.B. · Managed: Son House, Skip James, Mississippi John Hurt, Lightning Hopkins, Buddy Guy, Junior Wells, Bonnie Raitt · Collaborated with Bonnie on the Mt Zion Foundation to raise a headstone for Mississippi Fred McDowell Early Influences: · Louis Armstrong, Doc Watson, Tom Rush, Calypso· Worked at Club 47 Son House: · Early recording for Paramount · Move to Rochester 1943· Finding Son in Rochester, NY and his first show back in August 1964· There are recordings of these 64 shows that may be released soon! · Dick shares stories about Robert Johnson that Son told him!!! o Robert used to break strings when playing Son’s guitar during set breaks o He went away in 33 or 34 and came back much improvedo These stories are so cool! Skip James: · Great Eric Clapton story, Skip plays I’m so Glad and then asks Eric to play a song – NYC 1969 at Vanguard Records offices Mississippi John Hurt – Dick remembers John, his sweet nature, and sweet blues Howling Wolf · Story when Eric Clapton tried to play Howlin’s guitar to show him a song · Wolf ever left Chess and how this hurt his success Muddy Waters · Leaving Chess Records, Touring with Eric Clapton, and working with the Rolling stones Avalon Productions: · Junior Wells – Dick tells the story of signing Junior to Avalon with no paper · Buddy Guy · Luther Allison · Magic Sam Support the show (https://www.patreon.com/user?u=39941006&fan_landing=true)

Adam Levy, Mimi Fox, and Stu Hamm talk about their guitar and bass lessons available on TrueFire, perform, and answer questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Adam: To call Adam Levy a "well-traveled musician" would be a hell of an understatement. During a six-year stint touring as a member of Norah Jones' Handsome Band, Levy went round the world several times and maxed out the pages of his passportand then a second onewith country stamps and visas. He first played with Jones at the very beginning of the singer's career and went on to be the featured electric guitarist on her wildly successful first three albums and DVDs. Levy held the enviable gig through 2007, ultimately leaving to follow his own path as a performing songwriter.Levy released two CDs under his own name while in Jones' band, and has continued to release new recordings annually since thensome featuring his lyrical songs, some wholly instrumental. His best-known is 'The Heart Collector,' praised by No Depression online as "a great album overflowing with warm and soulful songs that enchant the ears and captivate the heart." Other recent CDs include 'Town & Country,' 'Blueberry Blonde,' and 'Live from Sun Studio'the latter tracked, of course, at the legendary Memphis mecca where Johnny Cash and Elvis Presley cut their first acetates.Jones is not the only top-shelf artist whose music Levy has been party to. He can be heard on Tracy Chapman's New Beginning (that's Levy's laid-back blues solo on "Give Me One Reason"), Amos Lee's eponymous Blue Note debut (featured on the single, "Arms of a Woman"), Lisa Loeb's 'Lullaby Girl,' Vulfpeck's 'The Beautiful Game,' Allen Toussaint's 'American Tunes,' and Meshell Ndegeocello's 'Ventriloquism.'Levy is also well-known as a writer and journalist, with articles appearing regularly in the pages of Fretboard Journal and Acoustic Guitar magazines. And he has earned a reputation as an esteemed educator. He is the author of Jazz Guitar Sight-Reading (book) and Play the Right Stuff (book & DVD), and has led many workshops and masterclasses all across the U.-and internationally.About Mimi:Internationally renowned guitarist, composer and recording artist Mimi Fox has been named a winner in 6 consecutive Downbeat Magazine international critic's polls and has been recognized by writers and colleagues alike as one of the most eloquent jazz guitarists on today's scene. In one of many feature stories, Guitar Player Magazine hailed Mimi as "a prodigious talent who has not only mastered the traditional forms but has managed to reinvigorate them."Mimi has performed/recorded with some of jazz's most commanding players, including fellow guitarists Charlie Byrd, Stanley Jordan, Charlie Hunter, and Mundell Lowe, Grammy-nominated saxophonists Branford Marsalis, David Sanchez and Houston Person and the late Don Lanphere, vocalists Abbey Lincoln, Diana Krall, Kevin Mahogany and Janis Siegel (Manhattan Transfer), B3 organ masters Barbara Denerlein and Dr. Lonnie Smith, and powerhouse drummer Terri Lyne Carrington. She has also performed outside of the jazz world with legends Stevie Wonder and John Sebastian and with Patty Larkin's Vanguard Records-produced La Guitara project.About Stu:Stu Hamm attended the Berklee College of Music in Boston, where he met guitarist Steve Vai and, through him, met Joe Satriani. Hamm played bass on Vai's debut solo album, Flex-Able, which was released in 1984. Hamm has performed and recorded with Steve Vai, Frank Gambale, Joe Satriani and many other well-respected guitarists. It was playing live on tour with Satriani that brought Hamm's skills to national attention. Subsequent recordings with Satriani and other rock/fusion artists along with the release of his own solo recordings solidified his reputation as a bassist and performer.

This Episode: When Computer Music was Experimental, 1951-1971 Early Recordings of Computer Synthesis Playlist Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radiophysics division in Sydney. Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the Queen, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. Incidentally, synthesizing music …. Beat Canon (1960) by Dr. J. R. Pierce. From the album Music From Mathematics, Bell Telephone Laboratories. Numerology (1960) by Max Mathews. From the album Music From Mathematics, Bell Telephone Laboratories. Noise Study (1961) by James Tenney, from Music for Mathematics, Bell Labs, 1961 expanded edition. Bicycle Built For Two (Unaccompanied and Accompanied versions) (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. Computer Cantata, Prologue to Strophe III (1963) by Lejaren Hiller. From the album Computer Music From The University Of Illinois (1963). This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. Lyric Variations For Violin And Computer (1965-1968) by J. K. Randall. From the record A Mitzvah For The Dead For Violin And Tape / Lyric Variations For Violin And Computer on Vanguard Records. Permutation of Five Sounds (1967) by Pietro Grossi. From the album GE-115 - Computer Concerto on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New Year's gift by Olivetti company. Mixed Paganini (1967) by Pietro Grossi, also from the album GE-115. HPSCHD by John Cage and Lejaren Hiller (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. January Tensions (excerpt) by Peter Zinovieff. Computer performed and composed in his private studio outside of London. Synthesism (1970) by Barry Vercoe. From the album Computer Music released on Nonesuch. Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. Wishful Thinking About Winter (1970) by Wayne Slawson. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. Eight-Tone Canon (1970) by J.R. Pierce. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. Computer Suite From "Little Boy" (1970) by Jean Claude Risset. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. The Earth's Magnetic Field by Charles Dodge (1971). From Nonesuch Records. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center, and then converted into analog form at the Bell Telephone Laboratories. Computer says farewell, Music from Mathematics (1960).   The Archive Mix in which I play two additional tracks at the same time, to see what happens. Capriccio N. 5 (1967) by Pietro Grossi. From the album GE-115 - Computer Concerto on the Italian General Electric label. Computer synthesized sound. Pitch Variations (1960) by Newman Guttman. From the album Music From Mathematics, Bell Telephone Laboratories. From the album Music From Mathematics, Bell Telephone Laboratories.   Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (2020).  

This episode of the Old, Dingy Jukebox features some of my favorite guitar records from some of my favorite guitar players. It was pretty hard to narrow it down into one show, but I figured I’d just go for it. Who knows, maybe I’ll do a second show later on down the road. The guitar records and artists I chose for the show cover a lot of different styles and genres, which is sort of what the show is all about. Hopefully it will make for an enjoyable episode for the guitarist, guitar aficionado as well as the casual, every day listener. As usual, I’ve provided a discography of the records I pulled from for the show in order for you to pursue the artists more fully on your own if you are so inclined. Enjoy.E-mail: olddingyjukebox@gmail.comWeb: https://theolddingyjukebox.buzzsprout.com/Facebook: https://www.facebook.com/olddingyjukeboxpodcastTwitter: @OldDingyInstagram: @olddingyjukeboxpodcastContribute/Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USBlind Blake-Southern Rag. Paramount Records. 1927Phil Baugh-Country Guitar. Longhorn Records. 1965Big Bill Broonzy-Long Tall Mama. Oriole Records. 1932Django Reinhardt & the Quintette du Hot Club de France. Stompin At Decca. 1938Joe Maphis-Guitar Rock n Roll. Columbia Records. 1956Roy Harvey and Jess Johnston-Guitar Rag. Champion Records. 1930Reverend Gary Davis-I Am The Light Of This World. Melotone Records. 1935Speedy West and Jimmy Bryant-Bryant’s Bounce. Two Guitars Country Style. Capitol Records. 1957Blind Blake-Diddie Wah Diddie. Paramount Records. 1929Bob Wills & The Texas Playboys (Feat. Junior Barnard) Fat Boy Rag. Columbia Records. 1947Big Bill Broonzy-Guitar Shuffle. Blues With Big Bill Broonzy, Sonny Terry & Brownie McGhee. (interviewed by Studs Terkel) Folkways Records. 1957Doc Watson, Clint Howard & Fred Price-Crawdad Song. Old Timey Concert. Vanguard Records. 1967Kenny Sultan-Dallas Rag. Tom Ball & Kenny Sultan. Confusion. Sonyatone Records. 1981The Texas Troubadours-C-Jam Blues. Country Dance Time. Decca Records. 1965Support the show (https://paypal.me/christiangallo1?locale.x=en_US)

Eric is the guitarist for the band The Alternate Routes. Their song “Safe Haven” was self-produced by Donnelly, drummer and engineer Kurt Leon, and singer Tim Warren, a sonic departure from previous efforts that highlight the use of the recording studio itself as an instrument. The Alternate Routes first burst onto the scene in 2005 with their breakthrough album Good and Reckless and True. They released several albums on Vanguard Records and on their own, toured extensively, and relentlessly refined their craft. They have collaborated with such seemingly disparate artists as singer-songwriter Patti Griffin, director Lisa Cholodenko (The Kids Are All Right), and guitarist Carl Broemel of My Morning Jacket. They’ve performed on “The Late Late Show with Craig Ferguson,” “Late Night with Conan O’Brien,” and have been repeat guests on NPR’s “Mountain Stage.”

Show #821 Beardo's Birthday Bash 2019 A Bandana Blues episode dedicated to Beardo, founder of Bandana Blues, and filled with some interesting contributions from a couple of faithful listeners to the podcast. It turned out to be an intriguing and eclectic show. So go get it! 01. Matty T Wall - Quicksand (3:12) (Transpacific Blues Vol. 1, Hipsterdumpster Records, 2019) 02. Jim Roberts And The Resonants - Miss Her Love (2:46) (A Month Of Sundays, self-release, 2019) 03. Nightlosers - Hoochie Coochie Man (4:59) 04. R.L. Burnside - Chain Of Fools (Wish I Was in Heaven Sitting Down, Fat Possum Records, 2000) 05. Delbert McClinton & Dick 50 - Until then (4:58) (Acquired Taste, New West Records, 2009) 06. Jimi Hendrix - All Along The Watchtower (3:58) (Electric Ladyland, Track Records, 1968) 07. The Reverend Shawn Amos - Moved (4:00) (The Reverend Shawn Amos Breaks It Down, Put Together, 2018) 08. Big Mike & the R&B Kings - Save Some Funk For Sunday (4:09) (This Song's For You, Red Tint Records, 2019) 09. Black Cat Bones - The Race (4:34) (Tattered And Torn, self-release, 2019) 10. Bad Livers - Falling Down The Stairs (With A Pistol In My Hand) (6:33) (Hogs On The Highway, Sugar Hill Records, 1997) 11. Larry Coryell - Right On Y'all (4:16) (Introducing The Eleventh House, Vanguard Records, 1974) 12. Alejandro Escovedo - I Was Drunk (4:53) (Bourbonitis Blues, Bloodshot Records, 1999) 13. Bob Turpin Band - Playing The Blues (4:43) (preview from forthcoming album out early next year) 14. Wes Race - Shot Time (7:26) (Cryptic Whalin'!, Cool Groove Records, 2008) 15. Jef Lee Johnson - Highway 61 Revisited (8:17) (The Zimmerman Shadow, Nato Records, 2010) 16. CW Ayon - Messing With Me (2:41) (What They Say, self-release, 2019) 17. Ramon Taranco - The New York Shuffle (6:22) (Cuban Blues Man, self-release, 2019) 18. Triumph - Little Boy Blues (3:35) (Thunder Seven, MCA Records, 1984) 19. Big Brother and the Holding Company - Summertime (4:01) (Cheap Thrills, Columbia Records, 1968) 20. Charlie Parker - Summertime (2:46) (Charlie Parker With Strings, Clef Records, 1955) 21. Maria Daines - One Good Man (6:36) (Treebone, Nowrecordings/Maison Alas, 2005) 22. Two Ton Heavy Thing - Johnny (6:03) (Two Ton Heavy Thing, self-release, 2005) 23. Oz Noy - Steroids (9:01) (Asian Twistz, Abstract Logix, 2015) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Episode recorded at the Riffs Music School Studio with Guitar extraordinaire Jason Alan Moore. Jason is an American guitarist, songwriter, producer. Born in Southern California, raised in Thousand Oaks California. Took guitar lessons from Doug Aldrich (Whitesnake, Dio) and the world renowned, Ted Greene also known as ‘the chord chemist’ who is known for his 3 books Chord Chemistry 1-3. Ted thought Clapton, Van Halen, and many other world famous guitarists. Jason started writing songs and performing in bands at age 12, and played clubs like The Troubadour, The Whisky, and The Roxy in Hollywood while in the 10th grade. He formed a band called Seven’s Door that was signed to Capitol Records in 1998. Shortly thereafter he received a phone call from Rivers Cuomo from Weezer. Saying he was helping his buddy Kevin Ridel form a band and wanted to know if he was interested. After joining AM Radio, which was managed by Rivers, they were signed to Elektra Records and released ‘Radioactive’, which gained them national and international radio AirPlay, and their songs were placed in many feature films, television shows and video games. Madden 04 had Taken For A Ride by AM Radio, which plays every time you’re in the red zone about to score a touchdown. Some of the shows were The OC, Smallville, Wonderfalls, and the film The Girl Next Door. AM Radio toured extensively all over the US, Canada, and Japan, both as an opening act on arena tours as well as medium sized theaters and headlining club tours. Some of the bands they opened for were Weezer for three tours, Everclear, Third Eye Blind, The Vines, Rooney, Ben Kweller, Dashboard Confessional, Sparta, and many others. Later while AM Radio was on hiatus, Jason joined the alt-country rock band, Shurman on Vanguard Records, they recorded and released Jubilee and toured the US opening for Hootie and the Blowfish, Darius Rucker, Jim Lauderdale, Rodger Clyne and the peacemakers, and the then infamous and now famous Bob Schneider, who is one of America’s national treasures when it comes to songwriting and performing. They made a video for the song ‘Drowning’ which was directed by award winning Nathan Karma Cox and was seen on VH1 country, Music Choice, and all the other major video channels. Now Jason can be seen playing guitar with Midnight Satellites and Kodi Lee around Southern California and select tour dates around the US.

Interview with the VanGuard Records

Sylvia Tyson, Canadian songwriter from the legendary duo, Ian & Sylvia talks about moving to Toronto in 1959 from Chatham, Ontario, to become a folk singer. Shortly after meeting Ian Tyson, the two formed a folk duo partnership and quickly gained popularity in Toronto's Yorkville Music Scene. After signing with Vanguard Records under manager Albert Grossman, Ian and Sylvia went on to become one of Canada's most celebrated folk groups. SEE VIDEO OF THIS: https://youtu.be/F3l5i9c_1xs

Bandana Blues Special Spinner's Seventies #1 Spinner browsed thru his vinyl collection of music from the 1970's and presents to you a portion of the soundtrack of his younger years. 01. Gruppo Sportivo - Mission A Paris (4:10) (10 Mistakes, Ariola, 1977) 02. Michael Chapman - Deal Gone Down (3:51) (Deal Gone Down, Deram Records, 1974) 03. Groundhogs - Strange Town (4:15) (Thank Christ For The Bomb, Liberty Record, 1970) 04. Cate Bros Band - Stranger At The Door (3:37) (Cate Bros Band, Asylum Records, 1977) 05. Russ Ballard - Are You Cuckoo (3:14) (Winning, Epic Records, 1976) 06. Atlanta Rhythm Section - Jukin' (3:41) (Red Tape, Polydor Records, 1976) 07. Jimmy Buffett - Why Don't We Get Drunk (2:40) (A White Sport Coat And A Pink Crustacean, Probe Records, 1973) 08. Randle Chowning Band - Black Leather (4:11) (Hearts On Fire, A&M Records, 1978) 09. Lee Clayton - A Little Cocaine (5:20) (Naked Child, Capitol Records, 1979) 10. Ben Sidran - House Of Blue Lites (3:06) (Don't Let Go, Blue Thumb Records, 1974) 11. Dirk Hamilton - The Classic Sweat Poze (4:18) (Alias I, ABC Records, 1977) 12. Country Joe McDonald - Movieola (2:48) (Paris Sessions, Vanguard Records, 1973) 13. Stillwater - Mind Bender (4:11) (Stillwater, Capricorn Records, 1977) 14. Hirth Martinez - Nothin' Iz New (3:09) (Big Bright Street, Warner Bros, 1977) 15. Kinky Friedman - Before All Hell Breaks Loose (3:35) (Kinky Friedman, ABC Records, 1974)

《创造101》成为现象级综艺，杨超越和王菊也刷屏了无数人的朋友圈，迥异的女性形象在同一档选秀节目上激烈碰撞。本期「忽左忽右」，移居柏林的著名新闻人覃里雯（笔名“苏丝黄”）和界面文化记者董子琪，共同为我们带来关于女性话题的精彩交流。 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 覃里雯，著名新闻人，笔名“苏丝黄”（新浪微博：@Pfaueninsel） 董子琪，界面文化记者（新浪微博：@BeulahDong） [03:40]调侃性话题的专栏作家“苏丝黄” [06:15]《三联生活周刊》宣布今年将专访匿名作家费兰特 [07:20]杨超越和王菊刷屏了朋友圈 [10:00]李宇春的女性力量感没有王菊这么强烈 [11:25]中国女性忍受荧幕上的傻白甜形象已经太久了 [13:10]九十年代TVB剧中的女性其实很独立 [14:00]电视剧《我的前半生》与亦舒原著的区别 [15:50]在国外受过高等教育的姑娘也爱看宫斗剧 [16:15]关于八十年代的女性形象记忆 [19:40]新加坡的生育政策与前现代特征 [22:10]男女记者在面对性资源现象上的不同看法 [25:15]中国作家关于女性的描写普遍糟糕 [25:55]覃里雯成长过程中的女性意识 [29:30]中国男性也容易面临被judge，被标签化 [30:40]网络时代的二元对立特别强烈 [33:30]性别话题上的商业炒作 [35:10]公共媒体应当承担社会顶梁柱作用 [37:35]基层女性面临的困境与女性知识分子大有不同 [39:40]董子琪讲述作家与自己谈论强暴话题的故事 [41:30]德国今天依然存在性别不平等 [43:20]“中华田园女权”与“憎男情绪” [45:50]德纳芙事件反应了宣言这一行为的缺点 [47:50]讨论生物学上的男女差异很危险 [50:20]生活中的许知远相当尊重女性，但依然会露出盲点 [51:55]亚洲女性在团结意识上往往超过西方女性 [53:30]情人文化并非欧洲大陆的普遍现象 [54:05]“米兔运动”是一个合理机制吗？ [56:55]法学家们推动了反家暴主张的落地 [59:00]变化是社会酝酿的结果 【音乐】 "Donna Donna"（Joan Baez·Joan Baez·1960·Vanguard Records） "美丽与忧愁"（陈淑桦·明天还爱我吗·1988·滚石唱片、EMI百代唱片） 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本集节目由JustPod与播客《海马星球》联合制作】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右 微信公众号：播客一下

《创造101》成为现象级综艺，杨超越和王菊也刷屏了无数人的朋友圈，迥异的女性形象在同一档选秀节目上激烈碰撞。本期「忽左忽右」，移居柏林的著名新闻人覃里雯（笔名“苏丝黄”）和界面文化记者董子琪，共同为我们带来关于女性话题的精彩交流。本集节目与播客《海马星球》联合制作《海马星球》专辑地址 http://www.ximalaya.com/renwen/12558418/【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】覃里雯，著名新闻人，笔名“苏丝黄”（新浪微博：@Pfaueninsel）董子琪，界面文化记者（新浪微博：@BeulahDong）●[03:40]调侃性话题的专栏作家“苏丝黄”●[06:15]《三联生活周刊》宣布今年将专访匿名作家费兰特●[07:20]杨超越和王菊刷屏了朋友圈●[10:00]李宇春的女性力量感没有王菊这么强烈●[11:25]中国女性忍受荧幕上的傻白甜形象已经太久了●[13:10]九十年代TVB剧中的女性其实很独立●[14:00]电视剧《我的前半生》与亦舒原著的区别●[15:50]在国外受过高等教育的姑娘也爱看宫斗剧●[16:15]关于八十年代的女性形象记忆●[19:40]新加坡的生育政策与前现代特征●[22:10]男女记者在面对性资源现象上的不同看法●[25:15]中国作家关于女性的描写普遍糟糕●[25:55]覃里雯成长过程中的女性意识●[29:30]中国男性也容易面临被judge，被标签化●[30:40]网络时代的二元对立特别强烈●[33:30]性别话题上的商业炒作●[35:10]公共媒体应当承担社会顶梁柱作用●[37:35]基层女性面临的困境与女性知识分子大有不同●[39:40]董子琪讲述作家与自己谈论强暴话题的故事●[41:30]德国今天依然存在性别不平等●[43:20]“中华田园女权”与“憎男情绪”●[45:50]德纳芙事件反应了宣言这一行为的缺点●[47:50]讨论生物学上的男女差异很危险●[50:20]生活中的许知远相当尊重女性，但依然会露出盲点●[51:55]亚洲女性在团结意识上往往超过西方女性●[53:30]情人文化并非欧洲大陆的普遍现象●[54:05]“米兔运动”是一个合理机制吗？●[56:55]法学家们推动了反家暴主张的落地●[59:00]变化是社会酝酿的结果【音乐】"Donna Donna"（Joan Baez·Joan Baez·1960·Vanguard Records）"美丽与忧愁"（陈淑桦·明天还爱我吗·1988·滚石唱片、EMI百代唱片）【logo设计】杨文骥【收听方式】本节目由喜马拉雅FM独家播出，也可通过泛用型播客客户端订阅收听《忽左忽右》。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

《创造101》成为现象级综艺，杨超越和王菊也刷屏了无数人的朋友圈，迥异的女性形象在同一档选秀节目上激烈碰撞。本期「忽左忽右」，移居柏林的著名新闻人覃里雯（笔名“苏丝黄”）和界面文化记者董子琪，共同为我们带来关于女性话题的精彩交流。 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 覃里雯，著名新闻人，笔名“苏丝黄”（新浪微博：@Pfaueninsel） 董子琪，界面文化记者（新浪微博：@BeulahDong） [03:40]调侃性话题的专栏作家“苏丝黄” [06:15]《三联生活周刊》宣布今年将专访匿名作家费兰特 [07:20]杨超越和王菊刷屏了朋友圈 [10:00]李宇春的女性力量感没有王菊这么强烈 [11:25]中国女性忍受荧幕上的傻白甜形象已经太久了 [13:10]九十年代TVB剧中的女性其实很独立 [14:00]电视剧《我的前半生》与亦舒原著的区别 [15:50]在国外受过高等教育的姑娘也爱看宫斗剧 [16:15]关于八十年代的女性形象记忆 [19:40]新加坡的生育政策与前现代特征 [22:10]男女记者在面对性资源现象上的不同看法 [25:15]中国作家关于女性的描写普遍糟糕 [25:55]覃里雯成长过程中的女性意识 [29:30]中国男性也容易面临被judge，被标签化 [30:40]网络时代的二元对立特别强烈 [33:30]性别话题上的商业炒作 [35:10]公共媒体应当承担社会顶梁柱作用 [37:35]基层女性面临的困境与女性知识分子大有不同 [39:40]董子琪讲述作家与自己谈论强暴话题的故事 [41:30]德国今天依然存在性别不平等 [43:20]“中华田园女权”与“憎男情绪” [45:50]德纳芙事件反应了宣言这一行为的缺点 [47:50]讨论生物学上的男女差异很危险 [50:20]生活中的许知远相当尊重女性，但依然会露出盲点 [51:55]亚洲女性在团结意识上往往超过西方女性 [53:30]情人文化并非欧洲大陆的普遍现象 [54:05]“米兔运动”是一个合理机制吗？ [56:55]法学家们推动了反家暴主张的落地 [59:00]变化是社会酝酿的结果 【音乐】 "Donna Donna"（Joan Baez·Joan Baez·1960·Vanguard Records） "美丽与忧愁"（陈淑桦·明天还爱我吗·1988·滚石唱片、EMI百代唱片） 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本集节目由JustPod与播客《海马星球》联合制作】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右 微信公众号：播客一下

David Cheal looks at how Bob Dylan took inspiration from an old Scottish border ballad while writing this era-defining apocalyptic vision of what he saw as the violent, ignorant and hypocritical socio-political landscape of 1960s America. Credits: Sony Music Entertainment Inc, A Wing & A Prayer Ltd, Vanguard Records, Virgin Records. Patti Smith Nobel ceremony recording courtesy of: Nobelprize.org. See acast.com/privacy for privacy and opt-out information.

This week, I sit down with Emmy-nominated songwriter Andrew McMahon to chat about his new project, Andrew McMahon in the Wilderness. In high school, McMahon and friends formed Something Corporate, a piano-pop group that would go on to be at the forefront of the early 2000s pop-punk/emo scenes and release two albums for major label MCA Records: 2002's Leaving Through the Window and 2003's North. After SoCo dissolved, McMahon formed Jack's Mannequin, releasing the instant classic Everything In Transit in 2005 along with two other albums. These days, he's a solo artist, mixing his love for classic songwriters like Billy Joel, Tom Petty and Bruce Hornsby with electronic elements to create a sound that's retro and modern at the same time. His debut solo full-length, Andrew McMahon in the Wilderness, was released this past October through Vanguard Records. I caught up with Andrew at the 9:30 Club in Washington, DC to chat about writing songs for TV, transitioning to this new phase in his career, how he plans to celebrate Everything In Transit's upcoming 10-year anniversary and much more. ----- Links: Andrew McMahon's Website | Twitter Andrew McMahon in the Wilderness on iTunes Voice & Verse Podcast on iTunes | Stitcher | Facebook

The Vagaband: Lend Me Your Ears (Town and Country,Eggsong Recordings)Matthew Perryman Jones: Sleeping With A Stranger (Land of the Living,Cante Jondo)Adam James Sorensen: With Your Radio On (Midwest,City Creek Records)Matt Keating: 1913 Coney Island (Wrong Way Home,Sojourn Records)Deanna Cartea: Photograph (Open Road,self-released)Caroline Herring: Summer Song (Camilla,Continental Song City)Devon Sproule: Runs in the Family (I Love You, Go Easy,Tin Angel)Darryl Holter: Walking the Long Miles Home (Crooked Hearts,self-released)Radney Foster: Just Call Me Lonesome (,Devil River Records)Marty Stuart: A Matter of Time (Nashville Vol. 1: Tear The Woodpile Down,EMI)Kasey Chambers: Return of the Grievous Angel (Storybook,EMI)Iris Dement: Sing the Delta (Sing the Delta,Flariella)Tift Merritt: Sweet Spot (Travelling Alone,Yep-Roc)Matthew Mutch: Can't Stop These Tears (Steeltown Pilgrim,Americanada)Jack Sundrud: The Key (Cage,Dogpile Records)Scott Cook: Let Your Horses Run (Moonlit Rambles,Groove Revival)Steve Martin and The Steep Canyon Rangers: Daddy Played the Banjo (with Gary Scruggs) (The Crow - New Songs For the Five String Banjo,Rounder)Porchlight Smoker: Haul Away Joe (Porchlight Smoker 2,Dead Reckoning)Robin and Linda Williams: Crossing the Bar (These Old Dark Hills,Red House Records)Karine Polwart: Cover Your Eyes (Traces,Hegri Music)Tom House: Winding Down the Road (Winding Down the Road,Mud Records)Robert Morgan Fisher: Stories That We Tell (Notes for a Novel,Imperative)Amy Stroup: Come on Back (Other Side of Love Sessions,Ent. One Music)Mary Chapin Carpenter: I Tried Going West (Ashes and Roses,Rounder)BettySoo and Doug Cox: Heartaches and The Old Pains (More Lies,Continental Song City)Skyline Drive: The Captain (Topanga Ranch Motel,self-released)Rodney Crowell: Momma's On A Roll (feat. Lee Ann Womack) (Kin: Songs by Mary Karr and Rodney Crowell,Vanguard Records)Dan Bern: Rainin' in Madrid (Drifter,self-released)Justin Townes Earle: Look The Other Way (Nothing s Gonna Change The Way That You Feel About Me Now,Bloodshot Records)Chris Isaak: So Long I'm Gone (Beyond the Sun,Vanguard Records)

The Alternate Routes are a rock band out of Bridgeport, Connecticut formed by Tim Warren and Eric Donnelly in 2002 while studying at Fairfield University.[1] The band recorded their debut album entitled Good and Reckless and True in Nashville in 2005. The next two years were spent touring, and honing their live sound. In 2006, the band won an Independent Music Award for the song "Ordinary."[2] Later that year, the band signed with Vanguard Records on Thanksgiving morning, 30 years to the day after The Last Waltz was filmed, a documentary about The Band that the Routes often cite as being very influential to them. The Alternate Routes also parted ways with Vanguard Records in 2010 and shortly after Tim and Eric headed back to Nashville to begin work on their 3 studio album which they plan to release independently. The album was produced by Teddy Morgan at the Barrio East in Nashville over the course of 6 weeks. The album is called "Lately" and is set to be released on Oct 12th, 2010. The band is planning a headlining tour to support "Lately." www.thealternateroutes.com fantalkwscafm@gmail.com www.wscafm.org

In this episode of the Casey Stratton Podcast I take many of your questions, including discussing my 5 tattoos, the remastering process and more about what it takes to do my live performances. I then play There Lies the Answer from The Crossing and Whirlwind Medusa from the album of the same name (on the harpsichord!), both by request. Music recommendation is Greg Laswell's Covers EP.Los Angeles based producer and songwriter Greg Laswell covers Echo & The Bunnymen, Morphine, Mazzy Star, Kate Bush and Kristin Hersh on his upcoming Covers EP, out October 6 on Vanguard Records. Listen to Greg Laswell’s cover of Kristin Hersh’s “Your Ghost.”Buy The Crossing in the CS Digital StoreBuy The Crossing on iTunesBuy Whirlwind Medusa on iTunesBuy Greg Laswell's Covers EP on iTunesemail me a question at podcasts@caseystratton.comListen to Podcast #37