Podcasts about wastin

The Allman Brothers Band's Eat a Peach (1972) is both a celebration of their fiery Southern rock sound and a poignant farewell to founding guitarist Duane Allman, who died in a motorcycle accident during its recording. The album is a hybrid of studio tracks, live performances, and unfinished sessions completed after Duane's passing, making it both a tribute and a continuation of the band's momentum.Musically, it captures the group at their creative peak: blending blues, rock, country, and jazz with extended improvisations. The live centerpiece, the 33-minute “Mountain Jam,” showcases the band's jam-band ethos, while songs like “Melissa” and “Ain't Wastin' Time No More” reveal a more reflective, personal side in the wake of tragedy. Studio tracks such as “Blue Sky,” written and sung by Dickey Betts, bring a bright optimism that counterbalances the album's sense of loss.The title, famously drawn from Duane's offhand comment that “every time I'm in Georgia, I eat a peach for peace,” adds to the record's bittersweet aura. Eat a Peach became both a commercial success and a symbolic turning point, solidifying the Allman Brothers as pioneers of Southern rock while memorializing the spirit of a fallen bandmate.What did you think of this album? Send us a text!Support the showWebsite Contact

The Closet Disco Queen podcast, featuring hosts Queenie and TT, is a chatty show for midlife women interested in adult-use cannabis. The episode covers various anecdotes, including Queenie's time spent with a young woman from Shanghai, observations about local changes due to construction, and reflections on memories of a local zoo and theater experiences. The hosts share their cannabis use for the day—TT opting for sativa gummies and Queenie for a sativa pre-roll. They discuss the longest cannabis worker strikes in Pennsylvania and Michigan, the importance of unions, and workplace safety. The podcast also includes a humorous and informative Q&A segment advising how to handle unexpected visits from grandchildren while using cannabis. Finally, a game segment and song lyrics add to the lighthearted, engaging nature of the show.Welcome to the Closet Disco Queen Pot-Cast, a comedy podcast with music and pop culture references that keeps you laughing and engaged. Join our hosts, Queenie & TT as they share humorous anecdotes about daily life, offering women's perspectives on lifestyle and wellness. We dive into funny cannabis conversations and stories, creating an entertaining space where nothing is off-limits. Each episode features entertaining discussions on pop culture trends, as we discuss music, culture, and cannabis in a light-hearted and inclusive manner. Tune in for a delightful blend of humor, insight, and relatable stories that celebrate life's quirks and pleasures. Our Closet Disco Queen Pot-Cast deals with legal adult cannabis use and is intended for entertainment purposes only for those 21 and older Visit our Closet Disco Queen Pot-Cast merch store!Find us on Facebook and Green Coast RadioSound from Zapsplat.com, https://quicksounds.com, 101soundboards.com #ToneTransfer

Parts of the Minnesota River Valley remain under flood warnings following torrential rain over the weekend. A Waseca County official says an emergency declaration in the region may be necessary. He'll join us to talk about cleanup efforts.Deportation fears are upending prosecutions in Hennepin County. We'll learn how the Trump administration's policies are impacting local cases.Plus, a Marshall Project investigation found many in-custody deaths are reported inaccurately to the federal government, or not reported at all. We'll hear from two reporters behind the story.And the Minnesota Lynx have now defeated the reigning WNBA champs, the New York Liberty, three times this season. We'll get the latest sports news from Wally and Eric.Our Minnesota Music Minute was “Bee Sting” by Davina and the Vagabonds. Our Song of the Day was “Ain't Wastin' Time No More” by The Allman Brothers Band.

Buy a round! Become a Patron! Links The Last of Us (TV Series) (Wikipedia) The Last of Us (video game) (Wikipedia) The Last of Us – Part 1 – 11 hour Video Game Walkthrough (YouTube) Alfredo alla Scrofa Fettuccine Alfredo: original recipe from the Alfredo alla Scrofa Restaurant in Rome (YouTube) Buy a round! Become a Patron!

Buy a round! Become a Patron! Links The Last of Us (TV Series) (Wikipedia) The Last of Us (video game) (Wikipedia) The Last of Us – Part 1 – 11 hour Video Game Walkthrough (YouTube) Alfredo alla Scrofa Fettuccine Alfredo: original recipe from the Alfredo alla Scrofa Restaurant in Rome (YouTube) Buy a round! Become a Patron!

Buy a round! Become a Patron! Links The Last of Us (TV Series) (Wikipedia) The Last of Us (video game) (Wikipedia) The Last of Us – Part 1 – 11 hour Video Game Walkthrough (YouTube) Alfredo alla Scrofa Fettuccine Alfredo: original recipe from the Alfredo alla Scrofa Restaurant in Rome (YouTube) Buy a round! Become a Patron!

Wastin' Time, Havin' Fun is a new dance party music podcast. Please give this a listen. Song titles and artist names are in order of play... CANET-WASTING MY TIME WITH YOU, PURPLE DISCO MACHINE-BODY FUNK, BEACON BLOOM-WITHOUT A SOUND, HARRY ROMERO-VAMPIRES, THE MELODY MEN-BETTER ON MY OWN, SUPERLOVER-WORK MY BODY, ORDONEZ-WHAT'S WRONG, ANDRUSS-THIS FUNKY, KAMARENA-NA NA NA, SENTIMENTAL ANIMALS-LOVE VIBRATION, IGOR GONYA-RESPECT OVER LOVE, THE SPONGES-GOTTA MOVE ON, BLONDISH-WE LIKE TO PARTY, FATBOY SLIM-BUS STOP PLEASE, DE SOFFER-PUMPED UP KICKS, METRO BOOMIN-GOSH FATHER, J PAUL GETTO-STOP MESSING WITH MY LOVE, LUBELSKI-TEAR OFF THE ROOF, PAT LOK-LOOK AT MINE. End. Thanks for listening from Ken Steele. 

Canada avoids Trump's tariffs – for now / How Trump is setting the tone for his 2nd term (1:40); Deadlines! Inspired by the tariff Feb 1st 'deadline'... what's a memorable deadline for you? Work? School? Life? (9:25); Latest on the Tik Tok ban... non-ban in the US... where does this end up? (16:10); Breakfast with the Bombers - Blue Bomber Defensive Back Evan Holm (23:45); Deadlines! Greg's legendary story from high school (33:00); Is the latest ER show THE PITT fact or fiction... a tale from two nurses with CJOB's Hal Anderson (36:15); HSC Radiothon wrap-up - announced on Friday, $310,852.25 -- Now bumped up to... (42:00); Winning story on deadlines (49:25); What's it like being an ice road trucker?? (52:10).

Por definición, todo equipo al que derrote el Real Madrid pasará a engrosar las filas de los flojos, de los mediocres, cuando no de los malos. Y no importa que antes de perder fuese bueno, no. De hecho, podría volver a serlo en los siguientes partidos, pero justo en ése, en el que pierde con el Madrid, sufre un repentino ataque de flojera. De ahí que, para el Real Madrid, sea tan complicado encontrar una buena piedra de toque que nos indique el verdadero nivel del equipo. Becarios: @norlex1508 @jackiller74 @Pudimos_ @franarranz77 @BlancoDoble @vice169494 @RJ_PL87 Min. 01 Seg. 45 – Intro Min. 12 Seg. 53 – El aficionado ya no les necesita Min. 20 Seg. 10 – El mismo partido de todos los años Min. 27 Seg. 40 – Un equipo aún en construcción Min. 37 Seg. 20 – Cansado, pero no deprimido Min. 43 Seg. 30 – Ya no volverá a ser el que era Min. 53 Seg. 58 – La osadía de atenerse al reglamento Min. 58 Seg. 20 – Despedida Gregg Allman (Macon, GA 14/01/2014) One Way Out Ain't Wastin' Time No More Queen Of Hearts These Days Hot 'Lanta Melissa Before The Bullets Fly Whipping Post I've Found A Love John Lennon - Come Together (New York 30/08/1972)

This week we are doing something a little different and taking a look back at Season 8 and The Lone Gunmen as a whole! We argue about whether or not sloughing off all your skin would be relaxing or not, add Chris Owens to the Famous Chris ranking (naturally), wonder if we need to do a T2 bonus episode, discuss the pros and cons of Mulder and Scully as parents, and have a very controversial ranking of “Patience”. We rank the episodes, recommend a few The Lone Gunmen episodes, answer emails and questions, assemble a bingo card/drinking game for listening to our podcast, and each assemble our own Topgolf Fantasy team and pit them head to head. It gets pretty intense.Note: Check out our Topgolf Fantasy team poll on Instagram on December 5!Send us an email at scullynationpod@gmail.com or follow us on Instagram!

Rave Warm Ups is back spinning a variety of Disco, Tech House and Garage tunes. This month's edition includes a vinyl only release from Soul Mass Transit System that I cannot get enough of. Tracklist "1. Custodian Dub - Tom Paris 2. Nimrod - Malin Genie & Frits Wentink 3. Keep On - D Stone 4. Dance Crip (Jordano Roosevelt Edit) - Jordano Roosevelt 5. We Don't Need - Piero Pirupa 6. Da Fonk - Mochakk, Joni 7. Feel Good - Sven Tasnadi 8. I Got All This Love - Extended Mix - Mark Knight,Darius Syrossian,James Hurr 9. Gypsy Woman (Richey Profond Remix) - Crystal Waters, Richey Profond 10. Back To The Start - Ben Santiago & Lovely Laura feat Kuuda 11. Wastin' - SHRWM 12. Crasher - DiSKOP 13. Dread (Seb Zito Remix) - Frankel & Harper 14. It Wasn't Me - Soul Mass Transit System 15. Wine - INSTINCT 16. Okay - Oppidan & The Illustration 17. Pon de Replay (OJ's Speed Garage Remix) - Rihanna"

The Kinks-You Really Got Me The Beach Boys-California Girls Jelly Roll-I Am Not Okay Aretha Franklin-Come Back Baby Beach Weather-High In Low Places Chicago-Saturday In The Park Jackson Browne-Tender Is The Night Luke Combs-Remember Him That Way WAR-Summer Mike Campbell & The Dirty Knobs-Shake These Blues The Allman Brothers Band-Ain't Wastin' Time No More Simple Minds-Don't You (Forget About Me) Alan Jackson-Summertime Blues Nick Lowe & Los Strait Jackets-Went To A Party Ruby & The Romantics-My Summer Love Lynyrd Skynyrd-Saturday Night Special

This edition of the Jones and Mego show with Arcand went all over the map of New England! Hour 1: Wastin' Swayman Hour 2: Celtics better win; Zappe got more snaps than Maye day one Hour 3: The Bruins are too comfortable losing. Get rid of everyone Hour 4: Offense or defense? | Bad Movies | How good are the Wolves?

10:01 PM | Allman Brothers Band | Ain't Wastin' Time No More10:04 PM | Cloud Nothings | Common Mistake 10:07 PM | Talking Heads | The Lady Don't Mind 10:12 PM | Phoebe Go | 7 Up 10:15 PM | Dirt Devil | Desert Moon 10:19 PM | Wallows | Calling After Me10:24 PM | The Allman Brothers Band | No One to Run With 10:30 PM | Rami Gabriel | That's what I been sayin' 10:32 PM | Hüsker Dü | Love Is All Around 10:35 PM | DIIV | Everyone Out 10:40 PM | Firewater | 3-Legged Dog 10:44 PM | The Fabulous Thunderbirds | Tip On In10:48 PM | Generationals | Spinoza 10:52 PM | Louisa Stancioff | Alice

Boy, oh boy - did The Girl in Lovers Lane set us to dreaming about a place we've never seen.Host segments: spring break antics; everyone check on everyone else; Go-bos; dealing with street toughs; a brief history of Jack Elam; f**k politeness; Danny and the City; I can't live in Dannysburg, but I'd love to visit. 

House passes bill that would ban TikTok if its Chinese owners don't sell the popular app.

Short is the time to love.

Playlist: Dolly Parton - These Old BonesWilliam Prince - Peace of MindWilli Carlisle - Higher LonesomeRoy Orbison - Plain Jane Country (Come To Town)The Maddox Brothers & Rose - Let Me Love YouTexas Toothpicks - On The Country RadioStompin' Tom Connors - Lukes Guitar (Twang Twang)Steve Earle - Until The Day I DieCowboy Junkies - Walking After MidnightBonnie & The Mere Mortals - Whiskey on the PorchVincent Neil Emerson - 25 & Wastin' TimeDan Getkin and the Twelve Six - Where Could I Go?Jake Ian - The Sounds Of The WindTrent Agecoutay - Going to California

WASTIN' AWAY AGAIN IN SLOPPYTOPPYVILLE Slap City picks: "Pancho & Lefty" by Willie Nelson & Merle Haggard, "Come Monday" by Jimmy Buffett. Listen to our playlist here Join us in 2 weeks when we'll discuss our 45th Patreon pick, Stray Kids' NOEASY!

-It's a Bugaboo Tuesday for Bill…what's bothering him today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Ain't Wastin' Time No More" - The Allman Brothers (1972)Show sponsored by GANA TRUCKINGAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Show #403 - November 30, 2023 :: Deep Expressions ~ Our show broadcast on the weekend of November 30, 2023 as heard on 96.1 WURD-FM and funkypeopleradio.net. Guest mixer, Jerry Cunningham & Cash Ellis are featured. Follow our archives for missed shows using the air date (MMDDYY). Hour 1 - Guest Set by Jerry Cunningham - BASF - Mr. Ho, Florian Blauensteiner Has To Be This Way (DjPope Funkhut Vocal Remix) - DjPope, Dana Weaver No Boundaries (Intr0beatz Remix) - KVRVBO Time's A Wastin' - Mark F. The Spirit Alive (Original Mix) - Life Recorder Only You (Soulfrequency's Larry Love Remix) - Lindsey Webster Treat Me Right (Distant Music Mix) - Kim English Diamond (Cafe 432 Remix) - Rhemi feat. Hanlei Express Yourself (Main Mix) - Michele Chiavarini, Carmichael Musiclover Baby Powda (Original Mix) - Doug Gomez Love Me Right (Yoruba Soul Mix) - J.A.E, Osunlade 4 Ever A Thing (Blackk Vokal) - Shino Blackk Rebirth - Human Space Machine // Hour 2 - Guest set by DJ BIg Dinero - C'mon Let's Groove – DJ Crime & DJ JAZZY B Mix Love & War (DJ Beloved Remix) – Tamar Braxton Boyfriend (David Michael House Remix) - Ariana Grande & Social House Igobolo (Expansions NYC Dub) - Louie Vega, Joe Claussell Send For Me - Consuela Ivy As Swaylo, K'Ture, DJ Oji Savage (Major Lazer Remix) - Megan Thee Stallion You Know How To Love Me (Hakeem Syrbram Keemix) - Phyllis Hyman, Hakeem Syrbram Their Flowers (Kelvin Sylvester Afro Mix) - Mike City, Mark Francis, Kelvin Sylvester Don't Deny Love (Souldynamic Club Mix) - Boyd Jarvis, Lisa Rudolph, Souldynamic + Trinidad (Beats) - Groove Assassin Keep Wondering - Kelly G + Fixation (Da Beats) - Louis Benedetti Phenomenal - Shino Blackk I Feel - Ann Nesby, DJ Spen, David Morales // Contact: info@funkypeopleonline.com, Websites: mixcloud.com/J_Goodwill / facebook.com/DJBigDinerosBeatPage / funkypeopleonline.com / WURDRadio.com / soul, funk, disco, deep house, funky people radio, funky people music, tech house, house music, afro house, vocal house, soulful house, dj mixes, deep house, deep, soulful, classic house, deep, dance, r&b, edm, tee alford, jerry cunningham, cash ellis.

Relegation special. J tells us who he does and does not want to get relegated.

Full Disclosure. This was recorded way in advance and we had no idea, so let's celebrate the man one more time by talking about one of the most monumental One Piece Events to date. Make sure you're following us across all social media @YaYoTalkShow! Support the show by picking up a piece of Ya Yo Talk Show Merch, including our Forever Pride Gear! - ⁠⁠⁠⁠⁠⁠tinyurl.com/YYTShop⁠⁠⁠⁠⁠⁠ Also make sure to follow and subscribe to our Twitch Channel for more chances to interact with us directly! Twitch.tv/YaYoTalkShow --- Send in a voice message: https://podcasters.spotify.com/pod/show/yayotalkshow/message

Schweezy attempts to cancel himself by talking about Steve from Smash Mouth, season one of The Sopranos, Stephen King's love for Mambo No 5, The Tonight Show with Jimmy Fallon being a toxic work environment, Warner Brothers Discovery giving up on Aquaman 2, and advice on hints women give to men, dating someone older than you, figuring out if you're attractive, and more. . Listen to "dry sp3ll": https://distrokid.com/hyperfollow/schweezy/dry-sp3ll . . Patreon: Patreon.com/TheSchwegCast . . . Follow Schweezy: linktr.ee/TheSchweezy . . Sponsors: Novilla: https://www.novilla.net/?rfsn=5637876... FNX Fitness: fnx.grsm.io/schwegcast​​​​​​​ CashApp: https://cash.app/app/VFPZ69S Drizly: drizly.com/i/rkqax​​​​​ Honey: joinhoney.com/ref/odmta0f

After reminiscing about Jimmy Buffet, David and Brad turn their attention to the upcoming Presidential election, and the future looks grim. Despite the vice president's announcement that she “may have to take over,” apparently 27% of Americans think Biden is doing just fine. In other perplexing news, a self-proclaimed shark expert blames humans for causing anxiety in the shark population, and a World War I artillery shell is discovered buried deep in the most unlikely of places.

What a week! Frankie's first accident, College football party, Jimmy Buffett tribute, Family food quirks, and more!

Stigall reminisces over the music of Jimmy Buffett after his death over the weekend. Democrats in multiple states are now plotting a new way to stop Trump if they can't keep him from winning the Republican primary. Plug-in cars are catching fire in the Florida hurricane aftermath. And Dr. Michael Schwartz visits to discuss his new book "Fauci's Fiction" as the good doctor returns to cable news to discuss masks, yet again. - For more info visit the official website: https://chrisstigall.com Instagram: https://www.instagram.com/chrisstigallshow/ Twitter: https://twitter.com/ChrisStigall Facebook: https://www.facebook.com/chris.stigall/ Listen on Spotify: https://tinyurl.com/StigallPod Listen on Apple Podcasts: https://bit.ly/StigallShowSee omnystudio.com/listener for privacy information.

“Wastin' Away Again” The ‘Sterds™ spend at least two minutes mourning the loss of a musical legend and also talk about current events | Creative Commons Music: "Habitual Ritual" by Revolution Void freemusicarchive.org/music/Revolution_Void/ | *** Warning: NSFW due to some harsh language, a few sexual references, and potential drunkenness of the hosts and/or guests. Listener discretion advised. | © 2015-2023, JonSquared Media

Long Con is a series of conversations between Director Sterlin Harjo and Artist Cannupa Hanska Luger about life, art, film, history and everything in between - informally shared from the lens of two contemporary Native American artists and friends actively participating in the record of the 21st century. This episode is the fifth conversation between Harjo and Luger on Broken Boxes, and the artists dive right in, chatting about conspiracy theories, aliens, AI, Indigenous ceramic practices, the current state of the film industry and the writers strike, how creating sanctuary for producing big ideas is important and how everyone's creative process is different, so it's about finding what your groove is. They also speak about fatherhood, the importance of storytelling, and of course the final season of Reservation Dogs - Season 3 - which premieres August 2nd, just days after this episode airs. Sterlin shares why he decided to complete the series after three seasons and reflects on his adventures of being a showrunner for a production that has changed the face of television for Indigenous people, and how making this work has, in turn, changed him. I am excited to see what comes next for our dear friend Sterlin. Broken Boxes will continue to produce these long conversations between the two artists and also we are so excited for Sterlin's podcast The Cuts to activate again, please go listen to his podcast archive If you have not yet! Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, is a television show created in collaboration with Taika Waititi, now available to watch on FX. Cannupa Hanska Luger is a multidisciplinary artist who creates monumental and situational installations and durational performance and often initiates community participation and social collaboration. Raised on the Standing Rock Reservation in North Dakota, he is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is of Mandan, Hidatsa, Arikara and Lakota descent. Music featured: 25 and Wastin' Time by Vincent Neil Emerson Broken Boxes intro track by India Sky

"With the help of God and true friends, I come to realize / I still had two strong legs and even wings to fly."   Those are among some of the first lines of the first song ("Ain't Wastin' Time No More") from "Eat a Peach," the double album by the Allman Brothers Band, which was released in early 1972. The lines and the song  -- heck, SEVERAL of the songs -- underscore a lot of what the Allman Brothers were all about throughout their career -- but perhaps never more so than at this point. They were a brotherhood -- but one that was shattered by the 1971 death of leader Duane Allman in a motorcycle accident in Macon, Ga. But the band soldiered on, finishing an album of Allman classics like "Blue Sky" and "Melissa" (which Gregg Allman performed at his big brother's funeral). "Eat a Peach" also showcases the Allman Brothers' true magic: on stage. Live versions of "One Way Out," "Trouble No More" and the epic (33+ minutes long!) "Mountain Jam" give us still today a taste of why they were considered one of the best live bands of all time. Tragedy and loss would continue to follow the Allman Brothers, yet they found a way through it. "Bearing sorrow, having fun" as Gregg sings on "Melissa." Sounds about right.

A hangover, a laugh, a realization, a sprint, a crate. The mission is almost complete.Be sure to like us on Facebook for special behind the scenes conversations about the entire production of the show! https://www.facebook.com/profile.php?id=100092686299124For information about our fantastic cast, please visit the Reformation Abroad IMDB page:https://www.imdb.com/title/tt27820441/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_reformation%2520abrAll sounds not created by Stove Leg Media organically were sampled from Motion Array and are covered under their standard universal license.For more information about the licensed sounds: https://drive.google.com/file/d/1k3N99UNcRxOFpJcomev6fSvcDPaGSTJa/view?usp=sharingThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5858837/advertisement

Donna Reed and Eric Seemann are both professional real estate agents. Donna lives and works in Tucson Arizona with Keller Williams Southern Arizona while Eric lives and works in San Antonio Texas with Keller Williams Heritage. They are also siblings, and they grew up in a small Northwest Ohio village of Lindsey. Their idyllic small-town childhood laid the foundation for what would become the structure of their lives and careers in real estate. We hope you will join us as we reminisce, reflect, and correlate how our childhood and life in rural Ohio still impacts our dealings with our clients today. What started out as a light, gets intense and deep as we Trash Talk.  Could say we wasted time.  Is one person's trash really another's treasure?  Have you ever been Junkin?  How much trash do you produce and how does what you think compare to EPA averages?  Well listen as we Talk Trash and find out! Website:  www.realsiblings.com   Watch Episodes on YouTube at:  REAL Siblings, It Ain't Easy   To reach out to Donna: Email:  donna@reedtucson.com Phone: (520) 631-4638 Facebook: (2) Donna Seemann Reed | Facebook   To Connect with Eric: Email:  eric@victorsgrouptx.com Phone: (210) 389-6324 Facebook: (2) Eric V. Seemann | Facebook   And for more info on TRASH numbers and averages... National Averages from Dumpsters.com

After years of suffering through mainstream country radio, Mike & Josh have made their own radio show to spread the music of underappreciated country artists. We are actively working with several radio stations to bring this show to the airwaves near you! If we are not yet on your local station, enjoy our show right here, and let your station know you want to hear us on it! Thanks for helping to get better music to more ears! In this week's show: "Southside of Heaven" - Ryan Bingham "Slow Burn" Kacey Musgraves "Wrong Way to Run" - Willy Tea Taylor "Beaumont" - Hayes Carll "Ragtime Troubles" - Luke Bell "You're Lucky She's Lonely" - Summer Dean "25 & Wastin' Time" - Vincent Neil Emerson "The Road" - Danno Simpson "Wait so Long" - Trampled by Turtles

This week, the SPORTS BOIS™️ are together to talk about the phenomenon of time-wasting in sports — how it differs from soccer to basketball and baseball, if there's anything that can be done about it, etc.MUSIC: "College Try" – FuturebirdsADDITIONAL MATERIAL: "'I Can't Speak!': The Craziest Game in Darts History, Explained" (ESPN Daily on Apple Podcasts) Hosted on Acast. See acast.com/privacy for more information.

WHO IS JACK THE UNDERDOG? In just over half a decade, Jack The Underdog has reinvented the pop-punk genre. He fuses pop-punk styles with electronic and hip-hop elements to create a totally original sound, dubbed “R&P” (rhythm and punk). Inspired by social justice, Jack The Underdog writes music for the misfits. Jack understands the battles of feeling unheard, and he aims to be a voice for the marginalized and misunderstood, hoping they can find some solace in his melodies. Jack The Underdog began his career as Jack Ohmes (old miss), writing songs in his hometown of Saint Paul, Minnesota. Music has always been in his bones - beginning at a young age, Jack took piano lessons, played in the school orchestra, picked up other instrument lessons, and attended School of Rock, where he was coached on performance and songwriting. Just a few years later, he formed a band with his high school peers called Painting Stars. As he began to emerge as Jack The Underdog, Jack's music led him to Nashville as he continued his music education at Belmont University. Jack majored in songwriting and music business and minored in social justice. Within his first few months in Nashville, Jack and his band, Painting Stars, were given the opportunity to open for the punk rock group The Story So Far. Jack The Underdog's songs, “Dolly,” “Hard To Read,” “Sleepless,” and “Writing My Future” have been featured on popular Minnesota radio stations. His song “Dolly” gained popularity on the social platform Tik Tok as it was being used by popular content creators. With the release of “Wastin' Away” in March of 2022, Jack The Underdog established himself in the pop-punk genre. He continues to represent the underdogs, finding ways to aid people however he can. Inspired by his mother's battle with cancer, Jack donated all of the proceeds generated by one of his songs to Gilda's Club, a support community for those living with cancer. Jack also works full-time at a non-profit that works to prevent sexual violence across the state of Tennessee. Jack The Underdog's most recent release was his 7 song project, ‘Acoustic Variants.' His progressive attitude and hard-hitting lyrics will undoubtedly catapult him all the way to the top. Jack will continue to release music through 2023, most recently collaborating with artists such as Kellin Quinn of Sleeping With Sirens and more.

Part 2 of our Rialto Report interview with Sue Nero, a golden age adult performer in film, on stage, and in men's magazines. The post Sue Nero: Ain't Wastin' Time No More (Part 2) – Podcast 126 appeared first on The Rialto Report.

Track listing for the full show available on my Patreon.Original Fire – AudioslaveHunger Strike - Temple of the DogAin't Wastin' Time No More - Allman Brothers BandYou're the One - Greta Van FleetEverybody Rock and Roll The Place - Eddie MoneyMemphis Sun - Rival SonsHouse of Doom - Black Label SocietyPeace Dog - The CultCan't You See - Black Stone CherryGypsy Caravan – WolfmotherLove Her Madly - The DoorsAint No Easy Way - Black Rebel Motorcycle ClubStarseed - Our Lady PeacePhotograph (live) - Def LeppardGel - Collective SoulShe Talks to Angels - Black CrowesWiser Time - The Black CrowesTangled Up in Blue - Bob DylanBad Girlfriend - Theory of a DeadmanCumbersome - 7 Mary 3The Damage You've Done - Tom Petty and the HeartbreakersI Wonder – Kid RockBurnin' Down One Side - Robert PlantOur Sponsors:* Check out Factor 75 and use my code zane50 for a great deal: https://www.factor75.com/Support this podcast at — https://redcircle.com/the-eric-zane-show-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Sue Nero was a larger than life, super-hero of a porn star - she talks about her eventful life in this Rialto Report interview. The post Sue Nero: Ain't Wastin' Time No More (Part 1) – Podcast 125 appeared first on The Rialto Report.

The boys discuss a myriad of topics ranging from gimme protocol, long birdie putts, and skiing? Tune in to hear more! Now through December 31st, visit the link below to get 20% off your entire order from Pinned Golf! Link: https://pinnedgolf.com/?ref=LifeInTheRough Promo Code: Lifeintherough

Jus is back! The guys discuss the intro song Li-Lo, some NFL news, Kanye is crazy, Eagles are 6-0, Georg Floyd did porn, Russell Wilson sucks, politicians are making sex tapes and rubbing one out near a near a preschool, and more!

Featured Songs: 00:38 - Pigeons Playing Ping Pong - 08-20-22 - Elephante - Bell's Back Room Beer Garden - Kalamazoo, MI  10:14 - Goose - 08-21-22 - Rockdale - The Greek Theatre - Los Angeles, CA  21:28 - Widespread Panic - 08-26-22 - Goin Out West - Oxbow Riverstage - Napa, CA  33:15 - Umphrey's McGee - 08-27-22 - Hurt Bird Bath - Sacred Rose Festival - Bridgeview, IL 50:30 - Greensky Bluegrass - 08-27-22 - Ain't Wastin' Time No More - Grind City Brewing Company - Memphis, TN See omnystudio.com/listener for privacy information.

Our Hard'N'Heavy series of podcasts focuses on new traditional metal and hard rock releases ... along with the odd hard rock'n'roll and melodic punk outing. Basically anything that doesn't fit on our Extreme Metal, Hardcore Punk or Doom series! This edition we focus on May and June 2022 releases. Horns up! (00:00) "A Rider in the Rain" MIRROR QUEEN - Inviolate Mirror Queen - Inviolate - OUT 6/24/22! | Tee Pee Records Webstore (03:50) "Wastin' Away" POISONED CHALICE - Poisoned Chalice Poisoned Chalice | Poisoned Chalice (bandcamp.com) (6:49) "Fly To The Moonlight" FAIR FIGHT - Until The End of Time Fair Fight | Facebook (12:47) "Rider of the Night" HARDROCKER - Rider of the Night Härdrocker (bandcamp.com) (19:05) "Grown Up Fucks" KISS DISEASE - You Met Me At A Strange Time Kiss Disease (bandcamp.com) (21:45) "Tiden Sjunger" STROM - Strom STRÖM (bandcamp.com) (25:57) "Minneapolis" EMERALD DREAM - Cosmogonia Emerald Dream | Facebook (33:16) "Imposter" GRAHAM BONNET BAND - Day Out In Nowhere GRAHAM BONNET BAND - Day Out In Nowhere - Ltd. Gatefold WHITE LP | Frontiers Music Official Shop (36:54) "Au Revoir" MSG - Universal MSG (MICHAEL SCHENKER GROUP) - Universal WHITE/BLACK SPLATTER VINYL - LP white/black - Nuclear Blast

Bowls & Bottles will take you places! Especially if you have the pure talent that is AMH! and I wasn't "Wastin' Time" when I got the pure lucky chance of chatting up the viral sensation that is Adam & The Metal Hawks. Touring with @revivetherose and @sonsofbutcher for their "Hurry Up & Wait" 2022 tour. AMH spared some of their majesty and shared some sneak peek exclusives with me at Sneaky Dee's. I got an origin story, musical inspirations and even a window behind the making of their music video for their 2021 single "Backwards". Watch it HERE: youtu.be/GLMq91Q5lBw Tell me, WHICH Stephen King story do YOU think would make for excellent song lyrics?! Let me know in the comments! And become as much of a super fan as I am of AMH by supporting/following and all around idolizing them HERE www.facebook.com/amhband www.instagram.com/amhband www.youtube.com/amhband www.tiktok.com/amhband @amhband Spotify/Itunes = Adam & The Metal Hawks (AMH) Who...me?!? Like this track! Send me a follow www.facebook.com/drtshow www.youtube.com/DrTaylornorthshow www.instagram.com/drtshow www.twitter.com/drtshow

The American Confederacy in Brazil? This week we talk about the southern rebels who took the L in the Civil War and picked up shop to continue their Dixieland Delight in South America.

This week the team wanders on in to the Skullpants Bar and Grill for some good ol' fashioned jalepeno poppers with a side of murder hobo-ing for hire. Anton meets a few of his heroes from back home and CB proves that just because you aren't good at stealth doesn't mean you shouldn't keep trying to pickpocket folks anyway. It's a wild night on the town for our intrepid crew so hit that button and find out what happens on this installment of Astronomica!If you enjoy the show, please follow us on your favorite platform for new episodes every Wednesday.  Can't get enough of Team Meatbag? You can check us out online at www.astronomicapodcast.com; here you'll find links to all of our social media as well as an open invite to our Discord server. If you have questions, comments, or general observations you can email them to astronomicapodcast@gmail.com. And finally, if you just absolutely love us and wish to provide support in a monetary manner, you can check out our Patreon at patreon.com/AstronomicaPodcast. Not only will you enjoy the warm fuzzy feeling of helping us foot production costs, you'll also find a number of fantastic extra perks plus get bragging rights with all your nerdiest friends. Thanks as always for listening and we'll see ya next week!   The Admiral Grace (main theme) composed by Jackson SeibEditing by Kristen Schebler             Support the show (https://www.patreon.com/AstronomicaPodcast)

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

Portland Entertainer TOX!C released her dance worthy first EP after spending a year largely dancing alone in isolation. We discuss how the pandemic affected sex work, the influences for her music, the struggle of finding the right people to work with and the creative support that got her through. From touching on mental health and geeking out about karaoke this is a perfect “Valentine's Date” to get you up and grooving. TOX!C's Dichotomy of Love now available to stream everywhere! https://allmylinks.com/yourtoxicaddiction CONNECT ON INSTAGRAM: Follow @yourtoxicaddition & link in her bio for all that she is up to! Follow the podcast at @isolationreflections & host at @juiceboxsays. Mental Health & Sexual Violence Resources: - Suicide Prevention Lifeline 1-800-273-TALK (8255) - Crisis Text Line / Text HOME to 741741 - Help Someone Else at suicidepreventionlifeline.org/help-someone-else - Learn about Bipolar & Mental Illness at https://www.nami.org - Sexual Violence Hotline 1-800-656-4673 - Anti-Sexual Violence Org: https://www.rainn.org/ SONGS FEATURED: 1. Wastin' My Time by Tox!c 2. Difficult by Tox!c 3.Hooked On You by Sweet Sensation 4. Get Over You by Tox!c

Galileo estaba equivocado, no es cierto que la Tierra gire alrededor del Sol. En realidad, la Tierra, la galaxia, el universo entero, al menos el universo futbolístico, giran en torno al Real Madrid. Me pregunto qué harían, de quién hablarían, a quién despellejarían, si el Madrid no existiese. Becario: @jackiller74 Min. 01 Seg. 46 - Intro Min. 09 Seg. 52 - Antes morir que reconocer un error Min. 21 Seg. 47 - De la escasez a la abundancia Min. 29 Seg. 17 - Candidato a ganar todo Min. 37 Seg. 14 - Mentiras y escamoteo de datos Min. 47 Seg. 21 - Una explicación que no interesa Allman Family Revival (New York 28/12/2019) Ain't Wastin' Time No More Dreams Trouble No More Blue Sky The Thrill Is Gone Autumn Breeze