Podcasts about White Room

ReferencesWorld J Gastroenterol. 2013 Nov 14; 19(42): 7258–7266.Guerra. DJ 2025. Unpublished LecturesExp Mol Med. 2018 Oct 10;50(10):133.Petty, and Lynne 1989. I Wont Back Downhttps://music.youtube.com/watch?v=3efKaFVBcMU&si=8Q4ZlOvRE7FlGpeVJagger/Richards. 1964. Jumpin' Jack Flash. Rolling Stoneshttps://music.youtube.com/watch?v=KXUJMaYzh6U&si=xhRy7yetsYUHr-oyBruce and Brown, 1968. White Room. Creamhttps://music.youtube.com/watch?v=xGxhECBbw08&si=9qfog8nk0Kn9pKg2

Hot on the platform boot heels of his 2014 induction into the Rock and Roll Hall of Fame, ACE FREHLEY has announced Origins Vol. 1, a collection of 12 newly recorded classic rockers from Ace s formative years featuring some of the biggest names in music, on April 15, 2016. Most notably, KISS frontman PAUL STANLEY joins ACE on Free's cult hit Fire and Water. This collaboration marks the first time that Ace and Paul appear on the same studio recording since KISS' 1998 reunion album Psycho Circus.Other guests are none other than Slash trading leads on Thin Lizzy's classic Emerald, Lita Ford singing and playing lead on The Troggs #1 smash hit Wild Thing, Rob Zombie guitarist John 5 plays guitar alongside Ace as he sings his classic KISS composition Parasite for the very first time, as well as Jimi Hendrix's Spanish Castle Magic. Pearl Jam's Mike McCready also plays guitar with Ace as he finally sings his KISS Alive! mainstay Cold Gin. Ace s cover of Cream s White Room is also an instant gratification track and saw its premier by Rolling Stone early in February 2016.Origins Vol. 1 is the follow up to Space Invader, released in 2014. Space Invader was Frehley's first studio album in five years, and the LP debuted at #9 on the Billboard Top 200 Chart, scoring the highest charting position of any KISS solo album ever, and marked Frehley's first return to the Top 10 since KISS' aforementioned 1998's Psycho Circus in 1998.Space Invader, received high praise from critics. Rolling Stone wrote:Gene Simmons has claimed Ace Frehley doesn't deserve to wear Kiss' Kabuki clown paint, but the former Spaceman's first solo LP in five years says otherwise. While the Associated Press hailed: The original Kiss lead guitarist has recorded his best solo album since his groundbreaking self-titled album in 1978.Paste Magazine also confirmed: Space Invader is a good rock album, and it s an even better guitar record.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Mrparka's Weekly Reviews and Update Week 434 (08.30.2025) (Flaming Brothers, Mad Foxes 4K) www.youtube.com/mrparkahttps://www.instagram.com/mrparka/https://twitter.com/mrparka00http://www.screamingtoilet.com/dvd--blu-rayhttps://www.facebook.com/mrparkahttps://www.facebook.com/screamingpotty/https://letterboxd.com/mrparka/https://www.patreon.com/mrparkahttps://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogKhttps://anchor.fm/mrparkahttps://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571 Time Stamps 0:00“Flaming Brothers” Blu-Ray Review - 0:14“Lost in Space” 4K Review- 8:08“Death Valley” Blu-Ray Review - 18:18“Mad Foxes” 4K Review - 23:07“House of Mortal Sin” Blu-Ray Review - 29:592025 “Brithrite” Review - 35:462025 “KPop Demon Hunters” Review - 38:21Patreon Pick “Antiviral” 4K Review - 41:25Questions/Answers/ Comments- 46:58Update - 53:1722 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/Podcast Under the Stairs – https://tputscast.com/podcastVideo Version – https://youtu.be/7C3C2xm_cpELinks Eureka Films - https://eurekavideo.co.uk/Flaming Brothers Blu-Ray - https://mvdshop.com/products/flaming-brothers-limited-edition-blu-rayMartial Law: Lo Wei's Wuxia World Blu-Ray Set - https://mvdshop.com/products/martial-law-lo-weis-wuxia-world-blu-rayArrow Video - https://www.arrowfilms.com/Lost in Space 4K - https://mvdshop.com/products/lost-in-space-limited-edition-4k-ultra-hdCauldron Films - https://www.cauldron-films.com/Mad Foxes 4K - https://mvdshop.com/products/mad-foxes-limited-slipbox-4k-uhd-blu-ray-combo-4k-ultra-hd88 Films - https://88-films.myshopify.com/Pete Walker 88 Films - https://88-films.myshopify.com/search?q=pete+walker&options%5Bprefix%5D=lastBirthrite Streaming - https://www.justwatch.com/us/movie/birthriteKPop Demon Hunters Streaming - https://www.justwatch.com/us/movie/k-pop-demon-huntersSeverin Films - https://severinfilms.com/Antiviral 4K - https://severinfilms.com/collections/uhd/products/antiviral-le-3-disc-4k-uhd-booklet-w-exclusive-slipcoverUpdateBlu-Ray 1. Sgt. Kabukiman N.Y.P.D. 4K2. The Films of Larry Fessenden: Volume 1 - Habit & No Tellings3. Playroom 4. Robowars5. Castle of Evil 6. Mixed Blood 4K7. Confessions of a Psycho Cat + The Fat Black Pussycat8. My Crepitus (I Never Left the White Room)9. Permeant Damage 10. Freeze Me11. City on Fire 4K12. Frankenstein's Bloody Terror Film Notes Flaming Brothers - 1987 - Joe CheungLost in Space - 1998 - Stephen HopkinsDeath Valley - 1968 - Lo Wei Mad Foxes - 1981 - Paul Grau House of Mortal Sin - 1976 - Pete Walker Birthrite - 2025 - Ross PartridgeKpop Demons Hunters - 2025 - Chris Appelhans, Maggie KangAntiviral -2012 - Brandon Cronenberg

Fluffy white room noise is like a gentle hush woven from soft, invisible threads. It wraps the space in a calm, consistent whoosh—no sharp edges, no distractions—just a soothing, cloud-like blanket of sound. It quiets the mind, masks unwanted noise, and creates a serene backdrop for focus, sleep, or meditation. Like resting on a billow of white cotton, it feels safe, steady, and effortlessly peaceful.✅ TIP: Keep the volume low for the best, most natural room-noise sound❗ ❗ To support this podcast, unlock all the ad-free and intro-free episodes, and receive many other benefits, including a 7-DAY FREE TRIAL

In this episode I host a dialogue between Dr Caroline van Damme and Lama Justin von Bujdoss. Dr Caroline Van Damme is an adult psychiatrist and family and systemic psychotherapist specialising in chronic psychotic disorders, and co-teacher of Buddhist guru and Sowa Rigpa doctor Nida Chenagtsang.  Lama Justin von Bujdoss is an American Buddhist teacher, dark retreat yogi, founder and spiritual director of Yangti Yoga Retreat Center in Buckland Massachusetts, and author of ‘Modern Tantric Buddhism'. Caroline and Justin discuss the risk of psychosis during extreme religious practices, consider the rewards and dangers of dark retreat, and describe the different forms of hallucination. Caroline and Justin warn about engaging in advanced practices too soon, consider the pros and cons of spiritual ambition, and offer a mental health checklist for those considering intensive practice. Caroline and Justin also reflect on their own biographies, share challenges they have faced, and recount anecdotes of religious psychosis. … Video version: www.guruviking.com Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'. … Topics include: 00:00 - Intro 01:08 - Justin explains the practice of dark retreat 5:55 - What is the purpose of dark retreat? 06:50 - Obstacles during dark retreat 09:39 - Distracted and disturbed by experience 11:08 - Sensory deprivation induces psychosis and delusional ideation 12:41 - Auditory or visual? 13:16 - Hallucinations in dark retreat vs in schizophrenia 18:51 - Practice prerequisites to dark retreat 21:10 - The purpose of intensive practice contexts 22:42 - Trekchod is the best antidote 23:38 - Justin laments the rush to do advanced retreats and practices 24:35 - Lack of mental health crisis intervention skills in Buddhist sanghas 25:38 - The devastating consequences of psychosis 27:09 - Sensory deprivation as torture and the “White Room” 29:01 - Tantric context of dark retreat and other challenging experiences 31:34 - Gek sel literature and “set and setting” 34:24 - Disastrous outcomes of Vipassana and other group retreats 38:19 - Mystical delusions and the manic state 41:59 - Consent, context, and the need for a guide 46:17 - Practice slowly, arrive quickly 46:51 - Extreme sports practitioners and disregard for tradition 50:24 - - Social pressure to avoid boredom 54:48 - A menu of spiritual materialism 57:10 - Outer, inner, and secret yidam practice 59:50 - Tilopa's Six Nails 01:00:47 - Śamatha and raw-dogging 01:02:33 - Lojong 01:03:21 - Dream yoga and illusory body practice 01:05:14 - Walking meditation 01:05:28 - Frequency, duration, and intensity 01:08:21 - Spiritual ambition and Justin's own training 01:13:10 - Ngondro and building a good foundation 01:14:12 - Bodhicitta as context 01:15:44 - A story of temporary insanity 01:17:29 - Health checklist for extreme spiritual adventures 01:20:17 - Dr Caroline's difficult intake experience 01:22:02 - Spiritual bypass and the role of the teacher 01:24:13 - Long term relationships with patients and students 01:25:40 - John Welwood's advocacy for psychotherapy 01:29:40 - Today's lack of a long term relationship with the guru 01:35:22 - The power of relationship 01:40:00 - Justin's concluding remarks 01:41:56 - Dr Caroline's concluding remarks … Previous episodes with Lama Justin von Bujdoss: - https://www.guruviking.com/search?q=bujdoss 
 Previous episodes with Dr Caroline van Damme: - https://www.guruviking.com/search?q=caroline … Find out more about Lama Justin von Bujdoss: - https://justinvonbujdoss.com/ - https://www.yangtiyoga.com/ Find out more about Dr Caroline van Damme: - https://www.sowarigpainstitute.org/dr-caroline-van-damme … For more interviews, videos, and more visit: - https://www.guruviking.com Music ‘Deva Dasi' by Steve James

TRACKLIST: 1 Aethra (Original Mix) Simon Sizer 2 Sparkling in the Shadow (Maze 28 & Kebin van Reeken Remix) DJ Zombi, Guy Maayan 3 Glimpse Of Elegance "Original Mix" Alan Schultz 4 Time Lapse (Pete Oak Remix) Oliver Schories 5 Anatoli (Original Mix) Dizharmonia feat. Iokasti 6 Stereo Hermanez 7 Deep Voltage (NOIYSE PROJECT Remix) Cary Crank 8 Deep Sense (Original Mix) Deep Lo 9 Come Home (Dowden Remix) Zuccasam 10 Hard To Love (Soul Button Remix) Erly Tepshi 11 Behind Closed Eyes (Extended Mix) Black 8 12 The Whiteroom feat. Whiteroom (Marsh Extended Mix) Andy Moor, Whiteroom, Adam White 13 Presence Oxia 14 Emmanuel (Original Mix) Dizharmonia feat. Kled Moné 15 The Last Time James Harcourt 16 Turquesa Henry Saiz 17 Dissolusion (Original Mix) JOBE 18 Haze (Original Mix) Montw 19 Amplitude (Original Mix) Fran Garay 20 Transistor Mattim 21 I Get Deep (Roy Rosenfeld Extended Remix) Roland Clark 22 Noxic (Original Mix) Soul Button

Hoy en La Gran Travesía, con motivo del aniversario del cuarto trabajo de KLF, White Room (3 de marzo de 1991) tenemos un especial dedicado a este dúo de auténticos lunáticos de la música británica. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.mdemagica.es/libro/gran-travesia-del-rock-la_53628 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Gezkurra, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzalez, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Morris Mayer, Entrepreneur and Pastor. He is the CEO of Morris Mayer Services Group Inc., overseeing several small businesses and a charity. These include Plaza Park Interiors, a 12 year old custom drapery and upholstery workroom to the trade and contract accounts; Plaza Park Cleaning Services offering fine drapery and upholstery cleaning and stain shield fabric protector; Valley Interiors offering custom window treatments and upholstery in Northern New Jersey; the recently launched R2A Custom Furniture Frames offering Ready 2 Assemble high end custom furniture frames to smaller custom workrooms that may not have the space or carpenter on staff and has several new products and services to be released this year.   Morris has nearly four decades of experience in the design industry in every area from design to field installations. Morris is also a Lutheran pastor, a calling which  started at the same time he started his business, and recently celebrated his 10 year ordination anniversary in January. He co-founded Goons4Good.org, a charity that inspires community action like supporting local soup kitchens and those struggling in the community. We also support cancer patient and caregiver support, developmental and physical disabilities and Veterans' services.   Additionally, Morris manages the recently launched “The White Room at 707” a new showroom space dedicated to events such as educational workshops, live music and community events. Morris is known for out of the box thinking and connecting people to opportunities that foster their success and growth.   LinkedIn: www.linkedin.com/in/morris-mayer-b597aa1a   • Personal Facebook: Morris Mayer   • Plaza Park Interiors Facebook: Plaza Park Interiors   • Plaza Park Interiors Instagram: @plazaparkinteriors   Websites: www.morrismayer.com, www.plazaparkinteriors.com, www.R2Acustomframes.com, www.goons4good.org, www.ppiclean.com, www.valleyinteriors.com, www.whiteroom707.com   Links and Resources;   The Emyth Revisted by Michael Gerber

NEW FOR MARCH 1, 2025 Picking all manner of things twice a month . . . Picking A Winner- The Best Radio You Have Never Heard Vol. 503 1. Dam That River - Alice In Chains 2. Higher Ground - Red Hot Chili Peppers 3. Cause We've Ended As Lovers (live) - Jeff Beck 4. Vanish - Blueburst 5. Reptile (live) - The Church 6. Starman - David Bowie 7. Beds Are Burning (live unplugged) - Midnight Oil 8. Jealous Again (unplugged) - Black Crowes 9. See How We Are (live unplugged) - X 10. Baby Let's Swing / The Last Thing You Said / Don't Tie My Hands - Todd Rundgren 11. Harlem Nocturne - The Lounge Lizards 12. Blue Suit - Two Loons For Tea 13. I Know A Place - Petula Clark 14. Half Asleep At The Wheel (live) - Corky Siegel 15. Middle Class - The Uptown Rulers 16. All Along The Watch Tower (live) - The Allman Brothers Band 17. Shortyville - Trombone Shorty 18. Hope You're Feeling Better - Santana 19. Baby's On Fire (live) - 801 20. Is Once Enough (live) - Jean-Luc Ponty 21. White Room (live) - Cream 22. Gimme Shelter (alt) - The Rolling Stones 23. Renee Remains The Same - Material Issue 24. Left Of The Dial - The Replacements 25. Further Excerpts From: My Secret Garden - Depeche Mode The Best Radio You Have Never Heard. Beyond your widest musical dreams.. Accept No Substitute. Click to leave comments on the Facebook page.

You’re a Creampuff Sensei Wolf! This week on the podcast, Brian and Darryl say goodbye to Cobra Kai! And welcome back to Invincible. Episode Index Intro: 0:07 Invincible: 5:31 Cobra Kai: 29:18 Invincible Season 3 Episodes 1-4 (Prime Video) Out of 10 Alan the Alien Rope-a-dopes Darryl: 7.5/10 Brian: 7.77/10 Episode 18: “You're Not Laughing Now” Summary: Three months after his battle with Angstrom, Mark continues training under Cecil's supervision to gain enough strength to compete with Viltrumites while avoiding Eve. Mark and Rex try to stop two thieves, Dropkick and Fightmaster, from stealing the Declaration of Independence but are attacked by Kate's brother, Multi-Paul, who tries to avenge his sister's death. Kate and the Immortal come out of retirement while Rae returns to the Guardians. William and Rick encourage Mark to confess his feelings and ask Eve out, but warn him against telling her about her future self. However, Mark lets it slip, leading Eve to reject him. Doc Seismic breaks out of confinement and kidnaps Earth's superheroes using giant underground creatures. When Mark and Eve fail to save the heroes, Cecil sends in Darkwing II and Reanimen to help, with Darkwing II recapturing Doc Seismic. Mark confronts Cecil for lying to him and working with Darkwing II and Sinclair, leading Cecil to trap him in the White Room, which was constructed to keep him safe from Mark. Allen and Nolan bond in prison while the Viltrumites begin testing Allen to determine the source of his newfound strength. • Writer: Simon Racioppa • Director: Jason Zurek Episode 19: “A Deal with the Devil” Summary: In a flashback, Cecil objects to his predecessor rehabilitating criminals. In the present, Mark destroys Reanimen deployed to stop him. Cecil activates a device installed in Mark's head matching the Atlantean kaiju's roars, causing him intense pain and preventing him from flying. Mark flees to the Guardians for help but Cecil arrives and attacks Mark with more Reanimen, prompting the Guardians to aid him. Rudy jams the signal that is harming Mark while Cecil, realizing his mistake, deactivates the Reanimen. A furious Mark threatens to kill Cecil should he approach him or his family, ending their working relationship. The Guardians break up, with Monster Girl, Rex, Rae, Bulletproof, and Rudy losing trust in Cecil, while the Immortal, Kate, Samson, and Shapesmith remain and are joined by Darkwing II. Cecil later reflects on his first meeting with Nolan and developing his personal code of doing anything to protect Earth while Mark and Eve reconcile and start a relationship. • Writer: Helen Leigh • Director: Haylee Herrick Episode 20: “You Want a Real Costume, Right?” Summary: Mark receives a new suit from Rosenbaum. After getting his own suit, Oliver names himself “Kid Omni-Man”, but Mark advises against it, explaining the destruction Nolan caused, before they join forces to stop Titan from breaking out Multi-Paul. Eve moves back in with her parents, promising not to use her powers at home if they become more accepting of her duties as a hero. Debbie forms a relationship with her colleague Paul and reveals to him Nolan, Mark, and Oliver's secret identities, angering Mark. The Maulers break into a missile silo, planning to launch an EMP device to destroy the world's communication systems, and incapacitate the attacking Guardians. Mark destroys the missile while Oliver, against his and Debbie's wishes, kills the Maulers. He reveals to Mark his indifference to killing, believing Nolan may be right, worrying Mark. While talking with Oliver, Mark notices a floating orb-like drone spying on the Grayson household, which detonates in his hand as he catches it. Unbeknownst to him, the drone belongs to Angstrom, who survived his previous encounter with Mark. • Writer: Jay Faerber • Director: Sol Choi Episode 21: “You Were My Hero” Summary: Mark asks Rudy to analyze the drone, which he determines originated from Earth and was created by someone with vast resources. Mark confronts Cecil, believing he built it, but Cecil denies it. Later, while on a date with Eve, Fightmaster and Dropkick forcibly recruit Mark and bring him to their future, believing he can save their Earth from its tyrannical king, the Immortal. Driven mad by his immense power and immortality, he blames Mark for his eventual abandonment of Earth and demands he fight him to the death to bring him peace. Reluctantly, Mark fights and is eventually forced to kill the Immortal. Returning to the present, a shaken Mark finds solace with Eve. Meanwhile, Nolan faces execution until Allen breaks free, liberates their fellow inmates, gains Battle Beast's help in fending off the Viltrumites, and feigns defeat to spur Nolan into action. After breaking out, Allen suggests they flee before reinforcements arrive, but Nolan reveals the Viltrum Empire now consists of fewer than fifty pure-blooded members. • Writer: Tania Lotia • Director: Ian Abando These episodes delve deeper into Mark's struggles with his dual identity and the complex relationships he maintains with allies and adversaries. The series continues to explore themes of power, responsibility, and morality, keeping viewers engaged with its intricate storytelling and character development. Cobra Kai Season VI Episodes 11-15 (Netfilx) Season VI Part 3 Out of 10 Flaming Cigar Yacht Explosions Darryl: 9/10 Brian: 9.23/10 Cobra Kai The Series Out of 10 From an Illegal Kick to the Face to Best Friends Darryl: 9.25/10 Brian: 8.94/10 Episode 11: “Into the Fire” Summary: While their students plan for life after karate, Daniel and Johnny clash over reviving the Sekai Taikai. Kreese reconsiders his guiding principles. • Writer: Joe Piarulli & Luan Thomas • Director: Joel Novoa Episode 12: “Rattled” Summary: Sam and Robby turn to their friends for support as they train for the challenges ahead. Johnny and Carmen welcome a new addition to the team. • Writer: Bob Dearden • Director: Steven K. Tsuchida Episode 13: “Skeletons” Summary: As the moment of truth arrives, Daniel and Johnny confront their pasts. Then it's fight time as Robby battles Axel in the world karate championship. • Writer: Stacey Harman • Director: Josh Heald Episode 14: “Strike Last” Summary: The action heats up as the Valley's top fighters pit their courage against their rivals' speed and strength. But one last surprise changes everything. • Writer: Michael Jonathan Smith • Director: Jon Hurwitz & Hayden Schlossberg Episode 15: “Ex-Degenerate” Summary: The series finale delivers dramatic conclusions for key characters, including Johnny's victory in the Sekai Taikai tournament, Kreese's redemption, and heartfelt moments between Daniel and Johnny. • Writer: Josh Heald, Jon Hurwitz & Hayden Schlossberg • Director: Jon Hurwitz & Hayden Schlossberg These episodes provide a fitting conclusion to the series, resolving long-standing rivalries and character arcs. The final episode, “Ex-Degenerate,” in particular, offers a mix of resolution, drama, and a hopeful message of reconciliation. Contact Us The Infamous Podcast can be found wherever podcasts are found on the Interwebs, feel free to subscribe and follow along on social media. And don't be shy about helping out the show with a 5-star review on Apple Podcasts to help us move up in the ratings. @infamouspodcast facebook/infamouspodcast instagram/infamouspodcast stitcher Apple Podcasts Spotify Google Play iHeart Radio contact@infamouspodcast.com Our theme music is ‘Skate Beat’ provided by Michael Henry, with additional music provided by Michael Henry. Find more at MeetMichaelHenry.com. The Infamous Podcast is hosted by Brian Tudor and Darryl Jasper, is recorded in Cincinnati, Ohio. The show is produced and edited by Brian Tudor. Subscribe today!

Wheels of Fire is the third studio album by the British rock band Cream, released in 1968. It is a double album, with one disc featuring studio recordings and the other containing live performances. The album blends blues, psychedelic rock, and hard rock, showcasing the virtuosity of Eric Clapton (guitar, vocals), Jack Bruce (bass, vocals), and Ginger Baker (drums, vocals).The studio disc includes iconic tracks like "White Room", a dramatic psychedelic anthem with haunting lyrics and a signature wah-wah guitar riff, and "Politician", a bluesy, satirical take on political figures. Other highlights include "Pressed Rat and Warthog", an offbeat spoken-word track by Ginger Baker, and "Deserted Cities of the Heart", a high-energy song with intricate instrumentation.The live disc, recorded at Fillmore West and the Winterland Ballroom in San Francisco, captures Cream's electrifying stage presence. The 16-minute version of "Spoonful" (originally by Willie Dixon) showcases Clapton's masterful blues improvisation, while "Crossroads", a cover of Robert Johnson's classic, features one of rock's most celebrated guitar solos.Wheels of Fire was the first double album to be certified Platinum, solidifying Cream's legacy as one of the greatest rock power trios. It remains a landmark release in psychedelic and blues rock history.Listen to the album on SpotifyListen to the album on Apple MusicWhat did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press SubredditFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Old Time Rock and Roll by Bob Seger & the Silver Bullet Band (1978)Song 1: Get Your Way by Jaime Cullum (2005)Song 2: To Be With You by Mr. Big (1991)Song 3: White Room by Cream (1968)Song 4: The Strong Hand by Foy Vance (2019)Song 5: Loose Change by The Highwomen (2019)Song 6: Elevator Boots by Counting Crows (2021)Song 7: Man in the Box by Alice In Chains (1990)Song 8: Rhythm Nation by Janet Jackson (1989)Song 9: Boogie Woogie Bugle Boy by The Andrews Sisters (1941)Song 10: Seven Bridges Road by Eagles (1980)

Actor and dancer Colt Prattes joins Emily and Haley to discuss ‘Aladdin' on Broadway, touring with P!nk, and his new Netflix movie, ‘The Merry Gentlemen.' Emily admires Nick Jonas's butt, Haley teaches menacing sign language, and Colt inspires a new segment that involves Emily's dad. So enter the White Room, dance like Daniel Radcliffe, and sign a playbill with a cigarette while you listen to Chapter 17 of ‘How To Make It With Emily & Haley.''The Merry Gentlemen' is now on Netflix. ‘Aladdin' performs on Broadway at the New Amsterdam Theater. Follow Colt: @coltprattesFollow 'How To Make It': @howtomakeitpodcastFollow Emily: @emilydorothyyFollow Haley: @haleymuralee

Do you remember Cream? Of course you do. They were the first supergroup of the '60s. Ginger Baker, Eric Clapton and Jack Bruce made some amazing music in just under three years. Today, musician Malcolm Bruce, the son of Jack has dedicated himself to preserving the musical legacy of his father who was one of rock's most influential figures. Jack Bruce was a trailblazing bassist, vocalist, and songwriter, best known as a founding member of Cream, alongside guitar legend Eric Clapton and the fiercely innovative drummer Ginger Baker. Cream, formed in 1966. They were at the forefront of a musical revolution that defined the '60s. Blending blues, rock, and psychedelic styles, Cream pioneered a sound that would shape the future of rock music. With hits like "Sunshine of Your Love," "White Room," and "Badge," their music was groundbreaking, pushing the boundaries of improvisation and power trio dynamics. The mid-1960s marked a fertile period for music, with the British Invasion introducing bands like The Beatles, The Rolling Stones, and The Who to global audiences. Cream carved a unique niche, fusing blues roots with virtuoso instrumental prowess and delivering intense live performances. Jack Bruce was at the heart of the band's success, contributing intricate basslines, soulful vocals, and timeless compositions. His collaborative work with lyricist Pete Brown produced some of Cream's most enduring songs. Though the band's lifespan was brief—they disbanded in 1968 due to creative tensions—their impact was monumental, cementing them as one of the first supergroups and one of the greatest bands in rock history. A young Malcolm Bruce grew up surrounded by music, deeply influenced by his father's genius and the rich legacy of Cream. A multi-instrumentalist proficient in guitar, piano, and bass, Malcolm has since forged his own path as a solo artist while honouring his father's contributions. Malcolm is also a key figure in the "Music of Cream" project, a touring tribute band featuring Kofi Baker (son of Ginger Baker) and Will Johns (Eric Clapton's nephew). Together, they celebrate Cream's groundbreaking music with live performances that recreate the band's electrifying energy, introducing its legacy to new generations. Beyond his work with the "Music of Cream," Malcolm Bruce is deeply committed to preserving Jack Bruce's catalogue and sharing his father's artistry with the world. He has worked on remastering projects, archival releases, and curated performances to highlight the depth of Jack Bruce's solo career, which extended far beyond Cream. Through his dedication, Malcolm ensures that the innovations of his father—and the era-defining work of Cream—continue to inspire musicians and fans alike. Today, Malcolm joins us to share his experiences and tell us why it's so important to advocate for his father's legacy. If you know Cream's music - or if you're wanting to discover it - you're going to love this episode. Please let me know your thoughts. You can always reach me through my website

Host the trivia from the ledge, because we are back for our sixth season of new/old Wie is de Mol episodes - and we're going back to 2016's offering in the Dominican Republic! Over these nine weeks, three guys who have to be sedated to go up Table Mountain - Logan, Michael & Bindles - are recapping and looking back at all that happened on a season with quite a reputation in the Mole fan communities, continuing with the sixth episode and elimination of literal icon Cécile Narinx. In this episode - one of our favourite shows has got a second series, Michael wonders if anyone's watched Traitors Québec yet, there's some trivia drama, one of us is a certified winner, we reveal our favourite C-words, there was an opportunity to take some revenge, we discuss an accidental spoiler, Art is obsessed with gender, this is the era of Fort Boyard getting into trouble, we try and loophole hunt, Logan expects more, no-one wants to be Treasurer, we advocate for Cécile's Fancy New Wallet to return, everyone is sent to Recoleta, Cécile gets the eulogy she deserves, the sixth set of suspicions are locked in and we go back to the White Room and try and stop it being sabotaged. Thank you for listening - we will see you next week for Episode 7! Please note: This season is intended on being spoiler-free, so please watch the episodes along with us. As with our coverage of Seasons 11, 14 & 17, there are no spoilers due to Logan not having seen the season before. However, any season we have already covered (WIDM 10-11, 14, 17-24 and Renaissance; België 4-12) is fair game though. This episode is supported by our friends over at Zencastr. Create your podcast today! Social Media: Facebook Twitter Michael Logan Bindles Instagram YouTube Patreon

We'll trade you a four-pound sledge and a twitchy STi for the time to get more episodes published...  This one's full of traffic thinking, with a knobby-tired look at why good alignment matters (and dying end-links don't).  There's an in-depth analysis of how it's essential to be in an offensive state of mind when commanding your place in the flow (and why bubbling yourself off from those selfsame traffic physics makes you the problem we've been waiting for).  There's also a few thoughts about how "Broken Windows Policing" could do wonders for incompetent motoring. Don't fret: how about some Amon Tobin, Die Krupps, Deep Purple and Blue Oyster Cult (no "White Room" or "Yellow Submarine", however), plus killer Bronco audio, Mom's Camry, cars in garages and TVs in dashboards.

We'll trade you a four-pound sledge and a twitchy STi for the time to get more episodes published...  This one's full of traffic thinking, with a knobby-tired look at why good alignment matters (and dying end-links don't).  There's an in-depth analysis of how it's essential to be in an offensive state of mind when commanding your place in the flow (and why bubbling yourself off from those selfsame traffic physics makes you the problem we've been waiting for).  There's also a few thoughts about how "Broken Windows Policing" could do wonders for incompetent motoring. Don't fret: how about some Amon Tobin, Die Krupps, Deep Purple and Blue Oyster Cult (no "White Room" or "Yellow Submarine", however), plus killer Bronco audio, Mom's Camry, cars in garages and TVs in dashboards.

Lilah + Angel go to the White Room.   Ian Carlos Crawford and Kimberly Ann Southwick talk Angel s3's "Forgiving"   Support us on Patreon: https://www.patreon.com/slayerfest98 Buy our stuff on etsy: https://www.etsy.com/shop/Slayerfestx98 Follow us on TikTok: https://www.tiktok.com/@slayerfestx98 Follow us on insta: https://www.instagram.com/slayerfestx98/ Follow us on Twitter: https://www.twitter.com/slayerfestx98 Like us on Facebook: https://www.facebook.com/Slayerfestx98/ Follow us on YouTube: https://www.youtube.com/@Slayerfestx98

703 The KLF - The White Room

Join Scott Kummer, Josh Hohbein, Andrew Robot Dinosaur, Matt Smith and Chris Slemp for a discussion of The KLF: The White Room and Tears for Fears: Songs from the Big Chair It's never too late to fill out the poll.  PLEASE!!  The data is interesting to us: https://docs.google.com/forms/d/e/1FAIpQLScknuwfnHxl2l0tKWaPPkq7v68SucfF5fAghkg-0g9qZsyfaQ/viewform?fbclid=IwY2xjawFUf4JleHRuA2FlbQIxMAABHSmUHPvxfYJCPxN62Hp-IxW-snACEoK7kHiTzK_NZ0hIsjqC4abwkC5-yA_aem_wH2aNAYMdY-Vou8dTs5j1g All the other shows and forms can also be filled out on our website: www.IGTOV.com JoIn the "I've Got That On Vinyl" Facebook Group: https://www.facebook.com/groups/684186180585840 On Twitter: @IGTOVPodcast On Instagram: https://www.instagram.com/igtovpodcast/ Or email us anytime at IGTOVpod@gmail.com Intro and Outtro music by MIshka Shubaly: http://www.mishkashubaly.com

Lenny Kravitz – Megastar seit mehr als drei Jahrzehnten Seit über drei Jahrzehnten steht Lenny Kravitz auf den großen Bühnen dieser Welt. In seiner Heimat Amerika gelang ihm der erste große Erfolg schon mit seinem Debütalbum „Let Love Rule“ im Jahr 1989. In diesem September feiert die Platte also 35. Geburtstag und ist damit genau so alt wie seine älteste Tochter Zoë Kravitz. Kravitz‘ Durchbruch in Deutschland Bei uns in Deutschland war der erste größere Erfolg seine Ballade „It Ain't Over Till It's Over“ von seinem zweiten Album „Mama Said“ aus dem Jahr 1991. Seitdem ist der Rocksänger, Gitarrist und Produzent auch bei uns mit jedem seiner Alben in den Charts gelandet. Beliebt bei anderen Musikern Weil Lenny Kravitz nicht nur Gitarre spielt, sondern gleich mehrere Instrumente beherrscht, war er bei vielen anderen Musikern in seiner Jugendzeit sehr beliebt und wurde auch immer wieder zu Jamsessions eingeladen. Da kam Lenny dann auch auf die Idee sein eigenes Album aufzunehmen. Zusammen mit Henry Hirsch, den er Mitte der 80er kennenlernte. Henry Hirsch ist Tontechniker, Keyboarder und Bassist. Die beiden haben sich wunderbar ergänzt und konnten super zusammenarbeiten. Auch, weil Henry Hirsch damals schon sein eigenes Tonstudio hatte, ein Vorteil, der nicht von der Hand zu weisen ist. Gemeinsam teilten Henry Hirsch und Lenny Kravitz die Leidenschaft für "echte" Instrumente und auch für analoge Aufnahmetechniken. __________ Über diese Songs vom Album "Definitely Maybe" wird im Podcast gesprochen (20:37) – "Let Love Rule"(33:33) – "Precious Love"(42:01) – "I Build This Garden For Us"(48:21) – "Mr. Cab Driver"(53:34) – "Rosemary" Über diese Songs wird außerdem im Podcast gesprochen (25:25) – "White Room" von Cream(26:07) – "Hey Joe" von Jimi Hendrix(44:06) – "Strawberry Fields Forever" von den Beatles__________ Alle Shownotes und weiterführenden Links zur Folge "Let Love Rule" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-lenny-kravitz-let-love-rule-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de __________

Emily gives Kaitlin the greatest compliment of her life. The saga continues with the curse of Matt and Emily's HVAC. Kaitlin and Scott go on a trip to Maryland and revisit the site of Scott's most “profound” spiritual experience. They also get to see their nephew pitch in front of 40,000 people. His name is Garret Declue. He plays Banana Ball. He's #17 on the Firefighters. He's awesome. Go check him out. And in other news, Kaitlin wants to become an internet troll. Get a FREE Magic Mind Sample Pack https://www.magicmind.com/sowhatpodtrial DISCOUNT CODE: Sowhatpodtrial Follow Kaitlin on Insta → @kaitlingraceelliott  Follow SWE on Insta → @so.what.else  So What Else Website

This story, entitled The White Room, comes from a writer from Indonesia, Adam Rahadian. Adam was inspired to write this story to give you the message that death can come at any time. Therefore, when you are alive you must be the best human being possible and the wealth you have is nothing when you die. He hopes you enjoy this story! Adam and the whole Life is a Trip group thank you for listening to Jasper on the Life is a Trip podcast. Adam Rahadian is a scriptwriter, film director, and dance choreographer based in Indonesia. We would like to offer a big thanks to amazingly talented ACTORS who brought this story to life:  Patrick Foley who played the Man Sophia Cofino who played Lily Ashna Sharan who played Sandra And Wayne Jay who played Nathan Adam will release a short film later this year and compete in various short film festivals and competitions around the world. He asks for all your support and prayers. You can give him contact him via Instagram @findadamr and LinkedIn in the name of Adam Rahadian.   

Get to know the band Soul Sign! Soul Sign recently released a smokin' cover of White Room and have more music on the way. We got together with Bassist Bjorn Englen and Guitarist Rob Math to learn more about the band, discuss the single, plans for an upcoming album and just talked Rock! Join the conversation and stick around to hear the latest single from Soul Sign.Rock and Roll music (and conversation) that DESERVES to be heard!

This week on Classic Vinyl Podcast, Justin and Tyler listen to and review Cream's 1968 hit single White Room. A pretty powerful song from the rock trio of Jack Bruce, Eric Clapton and Ginger Baker that is still played on Classic Rock radio to this day. Give it a listen and let us know what you think.

Ki'Shara Ninki. She's that special kind of researcher/writer/explorer/archeologist/occult theologian that ruins your family meal by passing around laminated charts of your bloodline and tracing your ancestry back to metaphysically enabled lizards from Mars.She's invited to Greg's seders any time she wants.On this non-stop mind- blowing marathon of a conversation, Ki'Shara shares things you've never heard before on other paranormal/UFO shows, but does one thing a lot of guests can't: supports all her claims with EVIDENCE.That's right: Ki'Shara has the stuff to fill in the gaps of Michael Cremo, Graham Hancock, Erich von Däniken, and Flint Dibble's fashion choices.In this episode, you'll learn about the mysterious connections between humanity and the celestial genealogies that stretch across the cosmos—discover how our very existence may be intertwined with the stars!You'll rediscover Ancient Wisdom, diving deep into forgotten societies and the esoteric knowledge of the ancients, including powerful Sumerian deities and lost narratives that have shaped human spirituality and history.You'll even tap into the Psychic Realms, discovering how ancient insights align with modern psychic training to unlock profound psychic abilities you never knew you had!And finally, brace for impact as Ki'Shara and Greg delve into explosive revelations from previously classified documents. Learn about the covert operations and hidden truths that have influenced major historical events!I mean, it's not any weirder than a dude parting the Red Sea if you really, really think about it.......Come, think with us. Oh, and Happy Passover. It's Open Loops. Ki'Shara's Links: https://www.afsresearch.org/ Let Greg know how you like the show. Write your review, soliloquy, Haiku or whatever twisted thoughts you want to share at https://ratethispodcast.com/openloops

Connect with Serjey Andre Kul ------------------------------------------- ▶ www.serjeyandrekul.com ▶ @serjeyandrekul ▶ instagram.com/serjeyandrekul ▶ facebook.com/serjeyandrekul ▶ twitter.com/serjeyandrekul ▶ twitch.tv/serjeyandrekul ▶ youtube.com/@serjeyandrekul ▶ www.ourpassionistrance.net ▶ thedjsessions.com/artist/serjey-andre-kul ▶ mixcloud.com/serjeyandrekul ▶ @ourpassionistrance   My Passion is Music 292 (Full on Trance Special), Mixed by Serjey Andre Kul Tracklist ----------- 00:00:00 The Conductor & The Cowboy - Feeling This Way (Lange Remix) [Pure Trance Recordings] 00:05:48 Trance Wax - Distance (Coast 2 Coast Remix) [Armada Music] 00:10:19 Woody Van Eyden & Gil Zambrano feat. Cheryl Barnes - Embrace the Rainbow (Vocal Mix) [Universal Nation] 00:15:19 Lange pres. Firewall - Together [Create Music Group] 00:20:58 Ferry Corsten pres. Gouryella - Orenda [Flashover Recordings] 00:26:54 Andain - You Once Told Me (Agnelli & Nelson Remix) [Black Hole Recordings] 00:32:24 Ali Wilson & Chris North - Unification [Vandit Records] 00:38:11 Sean Tyas feat. Fisher - Something in the Way [Black Hole Recordings] 00:44:52 Above & Beyond & Gareth Emery Pres. OceanLab – On A Good Day [Anjunabeats] 00:51:12 Myon & Shane 54 feat Labworks - Ibiza Sunrise (Classic Mix) [Armind] 00:58:12 André Visior & Kay Stone - Sunrise (Ronski Speed Remix) [Breathemusic] 01:04:56 Paul van Dyk - New York City (Super8 & Tab Remix) [Vandit Records] 01:10:54 Andy Moor, Whiteroom, Adam White - The Whiteroom [Anjunabeats] 01:18:57 Duderstadt and Anita Kelsey - Smile (Duende Vocal Mix) [Afterglow Records] 01:25:16 Ferry Corsten feat. Jenny Wahlstrom - Many Ways (Will Atkinson Midnight Remix) [Flashover Recordings] 01:30:29 Driftmoon - Howl At the Moon (Solarstone Retouch) [Pure Trance] 01:37:41 Talla 2xlc - Starz (Talla 2XLC Mix) [Tetsuo] 01:43:17 Susana feat. Jorn van Deynhoven - Never Mine [Armada Music] 01:49:27 System F - Solstice (Will Watson Remix) [Flashover Recordings] 01:55:42 Paul van Dyk - Tell Me Why (The Riddle) (Club Mix) [Vandit Records]  

19.01.24 Pt 2 - Siv Ngesi joins Gareth and Simphiwe as they get into Siv's Cape Town celebrity hobnobbing, his love for Mmusi Maimane, Gareth's ‘White Room', and more. www.cliffcentral.com

Visual artist Chelsea Ramirez discusses their delicate, layered drawings and installations using pigments and found objects. After discovering their passion at the New York Studio School, Chelsea has spent the last decade developing her signature style of "radical softness" to subtly resist social constructs. We explore Chelsea's large-scale piece "The White Room," her home studio practice, and upcoming projects expanding her ethereal aesthetic. Chelsea Ramirez on Instagram https://www.instagram.com/chelsearamire.z Tom Ray's Art Podcast Website - https://www.tomrayswebsite.com Join my email list to get a call out for artists when I'm booking interviews! Join my email list --- Send in a voice message: https://podcasters.spotify.com/pod/show/tomraysartpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/tomraysartpodcast/support

In this episode, we speak with UK musician, Malcolm Bruce, son of late Jack Bruce, about his new Cream tribute album, "Heavenly Cream - An Acoustic Tribute to Cream".

After not one, but two hard fought battles against the 2 biggest baddies in the Abyss, our heroes face some hard truths and even harder decisions in the White Room as they are greeted by memories and a familiar face.- - - - - - - - - -GIVE US YOUR QUESTIONS AND JOIN US FOR THE Q&A!Fill out this form to have your questions answered in our post-season finale Q&A episodehttps://forms.gle/LNEbmdBjHDciAyFv6Questions must be submitted by October 2/2023- - - - - - - - - -Become a Patron today to take advantage of a FREE 7 day trial AND join us at the Q&A Recording on Tuesday, October 3/2023.Support the podcast by joining our Patreon community and instantly access 200+ bonus episodes. Join us as a supporting producer to take part in exclusive hangouts, ask questions and have your say in world.Find all the details at Patreon.com/DumbDragonCast.- - - - - - - - - -CAST & CREWDM: Russ MorePlayers: Amy More, Carla Maxted, Tom Laird, Kristin Flemons, Kyle ClasetDialogue Editing: Carla MaxtedSound Design: Russ MoreMusic & Sound Effects: Epidemic Sound, BOOM Library, Kevin Mcleod, Sound IdeasCover Art: Chrissytor Illustrations- - - - - - - - - -Find and support our sponsors at: fableandfolly.com/partners- - - - - - - - - -Socials and more! - https://linktr.ee/dumbdragons See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After not one, but two hard fought battles against the 2 biggest baddies in the Abyss, our heroes face some hard truths and even harder decisions in the White Room as they are greeted by memories and a familiar face. - - - - - - - - - - GIVE US YOUR QUESTIONS AND JOIN US FOR THE Q&A! Fill out this form to have your questions answered in our post-season finale Q&A episode https://forms.gle/LNEbmdBjHDciAyFv6 Questions must be submitted by October 2/2023 - - - - - - - - - - Become a Patron today to take advantage of a FREE 7 day trial AND join us at the Q&A Recording on Tuesday, October 3/2023. Support the podcast by joining our Patreon community and instantly access 200+ bonus episodes.  Join us as a supporting producer to take part in exclusive hangouts, ask questions and have your say in world. Find all the details at Patreon.com/DumbDragonCast. - - - - - - - - - - CAST & CREW DM: Russ More Players: Amy More, Carla Maxted, Tom Laird, Kristin Flemons, Kyle Claset Dialogue Editing: Carla Maxted Sound Design: Russ More Music & Sound Effects: Epidemic Sound, BOOM Library, Kevin Mcleod, Sound Ideas Cover Art: Chrissytor Illustrations - - - - - - - - - - Find and support our sponsors at: fableandfolly.com/partners - - - - - - - - - - Socials and more! - https://linktr.ee/dumbdragons Learn more about your ad choices. Visit megaphone.fm/adchoices

In this thrilling episode, the Groupies celebrate their 2 year anniversary and Monroe Community Players 75th anniversary. Dave gives a shout out to the CTAM Fall Conference. Ron talks about Rumors and Bob and Brian get to squeeze in Star Trek references. All of this and another review from Kathleen!

On our latest weekly roundup, we have a special guest star. Nicole is back for a cameo appearance!What we're watching: On Only Murders in the Building, "The White Room" was not about expensive Manhattan real estate, but about stage fright (and there was a catchy song). On The Afterparty, "Feng" brought some surprising subtlety from Ken Jeong, even in the midst of a lot of TikTok videos.​Catherine's library find this week is another nonfiction series for kids that she found disturbing—actually, there are at least two series in the same vein, so we have concerns. Mentioned: "The Wolverines" on Saturday Night Live from October 11, 1975, and whether gophers and groundhogs are the same critters.In the archives, we revisit chats on our best school strategies (September 2, 2021), back-to-school emotions (September 3, 2020), and what was left out of the parenting manual (August 28, 2015). ​We'll be back with a new episode next Tuesday. Our TV watch will cover S2 E9 of The Afterparty ("Isabel") and S3 E5 of Only Murders in the Building (“Ah, Love!”). If you miss hearing from us every single day, the archives await you!This 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/3680863/advertisement

With Special Guest Photographer - Alison Narro @alisonnarro on Instagram The guys discuss millennial spending habits, great businesses with failed products, and hear from Alison about life as a ACL Live Photographer, taking shots of some of the biggest stars on the planet. Support the show: https://www.klbjfm.com/mattandbobfm/See omnystudio.com/listener for privacy information.

We are on episode 4 which means we have caught up! SPOILER ALERT! Unless you don't mind then keep going, but I think Kimber is out and Joy is in. Although I wouldn't be surprised if it was someone else, they usually do that. Charles needs to figure his white room situation out and pretty sure we all know it is Joy related. Where is Detective Williams and Sazz? Maybe episode 5 they'll show up and bring baby Keith. But that ending what is Charles thinking if he even is? Thank you for listening, please rate/like/review where ever you stream podcasts it really does help. Also if you like please follow the pod on insta @something.about.podcast 

Kirt & Mr. Sal discuss Season 3 Episode 4 of Only Murders in the Building in which Charles finds his happy place in an orange bell pepper.   ~~~ Relevant Links ~~~ Website: showhoppers.com Twitter: https://twitter.com/ShowHoppers Contact Us: showhopperspodcast@gmail.com

Which of the Pickwick Triplets Did it? Can the host actually say the words 'Which of the Pickwick Triplets Did It!?' Who killed Ben Glenroy? Or why did Ben die either time? We review the outstanding questions of ONLY MURDERS IN THE BUILDING Season 3, Episode 4 "The White Room" - and take a day, find a priest and pray it out! 00:00 Intro 00:02 The Man in the Mirror 01:40 Let's Solve Only Murders in the Building 02:14 Spoiler Warning 02:35 Credit Clues 02:44 Call to Action 03:05 Victim Profile: Ben Glenroy aka CoBro 04:10 Questions to Solve 05:22 Ben II 05:59 Dickie 06:30 Sing-a-long 07:21 Kimber 07:47 Bobo 08:03 Howard 08:27 Joy 09:11 Cinda Canning 09:27 Charles 09:45 Mabel 10:44 Feedback 12:52 Who Killed Ben Glenroy Poll Results The murder mystery/true crime podcast spoof with Steve Martin, Martin Short and Selena Gomez! Upper West Side neighbors Charles, Oliver and Mabel bond over a shared love of true crime. Charles' stage fright reaches unimaginable heights, involving a break from reality and multiple baby dolls. Mabel is confronted by a mysterious individual from her past with a pivotal proposal. Do you watch on Disney+, Hulu or Star+? Did we miss any clues? Twitter/Instagram/Threads: @DoublePHQ http://facebook.com/doublephq #onlymurdersinthebuilding #OnlyMurders ONLY MURDERS IN THE BUILDING Explained ONLY MURDERS IN THE BUILDING Recap ONLY MURDERS IN THE BUILDING Review ONLY MURDERS IN THE BUILDING Theory Theories s3e4 s03e04 Directed by Adam Shankman Writing Credits Steve Martin ... (created by) & John Hoffman ... (created by) J.J. Philbin ... (written by) Joshua Allen Griffith ... (executive story editor) Cast (in credits order) Steve Martin ... Charles-Haden Savage Martin Short ... Oliver Putnam Selena Gomez ... Mabel Mora Michael Cyril Creighton ... Howard Morris Andrea Martin ... Joy Tina Fey ... Cindy Canning Ryan Broussard ... Will Jackie Hoffman ... Uma Da'Vine Joy Randolph ... Detective Williams Gerald Caesar ... Ty Linda Emond ... Donna Demeos Allison Guinn ... K.T. Ashley Park ... Kimber Don Darryl Rivera ... Bobo Paul Rudd ... Ben Glenroy Jeremy Shamos ... Dickie Meryl Streep ... Loretta Durkin Wesley Taylor ... Cliff Demeos Jason Veasey ... Jonathan Jesse Williams ... Tobert Adrian Martinez ... Gregg Caitlin Hammond ... Girl Cop Gerrard Lobo ... Detective Biswas Harry Sutton Jr. ... Doctor Douglas Matthew Broderick Mel Brooks Produced by Dan Fogelman ... executive producer Selena Gomez ... executive producer John Hoffman ... executive producer Steve Martin ... executive producer Jess Rosenthal ... executive producer Martin Short ... executive producer Music by Siddhartha Khosla ... (music by) Consulting Producers Benj Pasek and Justin Paul #selenagomez #stevemartin #martinshort #murdermystery #paulrudd #merylstreep #hulu #disneyplus #starplus

In this podcast, Josh and Troy recap Season 3 Episode 4 of "Only Murders."

Are we dead? Are we on drugs?? Jade, Kara and Erica review probably the most unhinged Only Murders in the Building episode to date! Watch S3E1 video HERE! Video of S3E2,3&4 ON PATREON! Join and watch full episode videos, get extra bonus videos and listen to all of our podcasts ad-free!Leave us feedback for our next episode review of Only murders in the Building season 3 episodes 5! Email us at perfectlymarvelouspodcast@gmail.com or send a voice message (which we REALLY prefer ;-)Follow us on Instagram: @perfectlymarvelouscast or Facebook Only Perfectly Marvelous Murders! Group where we put up posts about each episode and leave a comment there! Subscribe to watch more videos:Youtube:@JadeAndersonactor Listen to Jade's remake &sequel Podcast "Shall We Compare Thee?" A remake and Sequel PodcastFollow Jade on social media:Instagram- @Jadethenakedlady Tiktok- @Jade8greenYoutube:@JadeAndersonactor Website:Jade-anderson.comLinks from news:Goldderby.com article-Martin short nominated for best actor in comedy series Dailybeast.com-OMITB Costumes

Hello and welcome to Thew DJ B-12 Deep Acid House Experience episode 46 for August of 2023. We have a special treat for you this time with a gust mix I did back in May for Mix Pub. This is a 60 track mix that's a little over 2 hours long and is jampacked with loads of styles ranhing from house to techno to breaks to acid to hardcore and progressive. I wanted to wait a while on releasing this one. It went over really well the night it aired. I really hope you enjoy. I'll try not to take too long releasing show number 47 probably in September.   This set contains tracks by and remixed by and on the following labels: t e s t p r e s s, Shall Not Fade, The Spirit, Logic Records, Digital Domain, Rabbit City, Simon Doty, Anjunadeep, Habbo Foxx, Zulu Records, Roland Clark, Trish O., Alexander Technique, Heldeep Records, Greco (NYC), Rowetta, Klangkuenstler, Rawsome Recordings, Marsh, Anjunadeep, Jerusalem, OM, Spooky, Deviant Records, Harry Romero, Jessica Eve, Rodriguez Jr., Crosstown Rebels, Franky Wah, Cr2 Records, Dosem, Truesoul, Vitess, Pont Neuf Records, Framewerk, Capital Heaven, O.H.M., Defective Records, Brothers Love Dub, Stress Records, Fleetwood Mac, Deep Dish, Reprise Records, Lose Endz, Overall Musicl, GSEP, Rikki Sawyer, Hall North, JourneyDeep Records, Depeshe Mode, Framewerk Rewerks, Andy Moor, Adam White,  Whiteroom, Marsh, Virtualmismo, Progressive Motion Records, Slacker, Jukebox In The Sky, The Future Sound Of London, Virgin Records, Rhythm Invention, Nick Simpson, Warp Records, Jaydee, R&S Records, Tom Mangan, Size 9, Bedrock Records, Dave Angel, Rekids, Drum Club, Underworld, Butterfly Records, Pleasurebox, Well Hung, Accidental Music, Roach Motel, 4 To The Floor Records, Gareth Cole, Ohral, Bizzare Inc., Loz J Yates, World Sound, GREETINGS, Boots & Legs, Rick Marshall, Soulful Evolution, Nox Vahn, James Grant, Lauer, Johannes Albert, Frank Music, Tom Wax, Drea Perlon, Harthouse, Phil Fuldner, Armada Subjekt, Blazers, Infinite Pleasure, Friend Within, Shall Not Fade, Corrodo, Savannah Records, Soul Brothers, Joi Cardwell, Ralphi Rosario, Nervous Records, Ken Ishii, Dave Angel, R&S Records, Saytek, Taiko, All Around The World (AATW), Sultana, Ego, 108 Grand, Way Out West, Fresh, Stereo MC's, Kadosh (IL), Stil Vor Talent, Tibasko, Azzecca, Another Rhythm, Firestar Soundsystem, Elektroshok Records, Robbie Doherty, Shall Not Fade, BC#9, DNB UNITED RECORDS, Because of Art, Antony Szmierek, Komakino, Robert Babicz, Esprit De La Jeunesse, Sunscreem, Sunscreem Music Thanks again for your support! Like, comment, share, subscribe and repost! Tracklist01. t e s t p r e s s - on my own [Shall Not Fade]02. The Spirit - The Spirit (Into My hands. I Command My Body) (12" Spiritual Mix) [Logic Records]03. Digital Domain - I Need Relief [Rabbit City]04. Simon Doty - Living Sound (Extended Mix) [Anjunadeep]05. Habbo Foxx - Love On My Mind (Extended Mix) [Zulu Records]06. Roland Clark, Trish O. - This is Techno (Alexander Technique Extended Remix) [Heldeep Records]07. Greco (NYC), Rowetta - Be (Klangkuenstler Remix) [Rawsome Recordings]08. Marsh, Simon Doty - Touch The Sky (Extended Mix) [Anjunadeep]09. Jerusalem - Jerusalem (King Solomon Dub) [OM]  10. Spooky - Belong (Flangescopic Dub) [Deviant Records]11. Jessica Eve, Harry Romero - It Hurts feat. Jessica Eve (Rodriguez Jr. Remix) [Crosstown Rebels]12. Franky Wah - Stories (Extended Mix) [Cr2 Records]13. Dosem - All Locations [Anjunadeep]14. Dosem - Unlimited Access [Truesoul]15. Vitess - Head Scan [Pont Neuf Records]16. Framewerk - Let Your Mind Go [Capital Heaven]17. O.H.M. - Oceanic [Defective Records]18. Brothers Love Dub - The Mighty Ming [Stress Records]19. Fleetwood Mac - Dreams (with Deep Dish) [Reprise Records]20. Lose Endz - North Beach [Overall Music]21. GSEP, Rikki Sawyer - Made For You (Hall North Remix) [JourneyDeep Records]22. Framewerk - Enjoy The Silence [Framewerk Rewerks]23. Andy Moor, Adam White - The Whiteroom feat. Whiteroom (Marsh Extended Mix) [Anjunadeep]24. Virtualmismo - Cosmonautica (Lunar Lander Mix) [Progressive Motion Records]25. Slacker - Musifon [Jukebox In The Sky]  26. The Future Sound Of London - Lifeforms [Virgin Records]  27. Rhythm Invention – Chronoclasm (Nick Simpson's Portable Mix) [Warp Records]28. Jaydee - Plastic Dreams [R&S Records]29. Tom Mangan - Chutney (Size 9 Remix) [Bedrock Records]30. Dave Angel - Glide [Rekids]31. Drum Club - Sound System (Underworld Mix) [Butterfly Records]32. Pleasurebox - Real Kiss (Well Hung Parliament Remix) [Accidental Music]  33. Roach Motel - The Right Time (The London Disco Dub) [4 To The Floor Records]34. Gareth Cole - Drawn To The Dark [Ohral]35. Loz J Yates - Plutonic [World Sound]36. GREETINGS - Look Within [Boots & Legs]37. Rick Marshall - Don't Wanna Be (Extended Mix) [Soulful Evolution]38. Chris Cargo - Synergy (Framewerk Remix) [If You Wait]39. Marsh, Nox Vahn - Come Together (Dosem & James Grant Extended Mix) [Anjunadeep40. Lauer, Johannes Albert - Posh-O-Rama [Frank Music]41. Pascal Nuzzo - Hold On [R&S Records]42. Tom Wax, Drea Perlon - Hangxiety [Harthouse]43. Phil Fuldner - Shift (Extended Mix) [Armada Subjekt]44. Blazers - Midnight Resource [Infinite Pleasure]45. Friend Within - Don't Hurt Me [Shall Not Fade]46. Corrodo - Trust (Pink Mix) [Savannah Records]47. Soul Brothers - Let It Go (feat. Joi Cardwell) (Ralphi Rosario Dub) [Nervous Records]48. Ken Ishii - Overlap (Dave Angel Remix) [R&S Records]49. Saytek - IYNDUB01 (Live) [R&S Records]50. Taiko - Echo Drop (Hard) [All Around The World (AATW)]51. Sultana - Te Amo (Caliente Mix) [Ego]52. 108 Grand - Tonight (Way Out West Dub) [Fresh]53. Stereo MC's, Kadosh (IL) - Think It Over [Stil Vor Talent]  54. Tibasko - Still Rushing (Azzecca Extended Remix) [Another Rhythm]55. Firestar Soundsystem - Future Break [Elektroshok Records]56. Robbie Doherty - Sick n' Tired [Shall Not Fade]57. BC#9 - I Want Your Love [DNB UNITED RECORDS]58. Because of Art, Antony Szmierek - Circle of Light (feat. Antony Szmierek) (Incandescent Mix) [Stress Records]59. Komakino - Outface (Robert Babicz Remix) [Esprit De La Jeunesse]60. Sunscreem - Pressure US (SXS Mix) [Sunscreem Music] 

A glimpse into the life of Eddie Pepitone on the road in Worcester. A behind the scenes view of the greatness we love in his natural habitat. Enjoy! Catch up on all our videos a week later at: www.youtube.com/@eddiepeppodcast For additional content support Eddie on Patreon: www.patreon.com/eddiepepitone Write us a review on iTunes https://tinyurl.com/mv57us2d Watch The Bitter Buddha the doc by Steven Fienartz about Eddie. Send emails to: EddiePepPodcast@gmail.com Follow Eddie Twitter: @EddiePepitone Instagram: @EddiePep Follow Kevin @KevinTienken Go to www.eddiepepitone.com for show dates and all things Eddie Thank you to Allen Mezquida for our beautiful artwork

1. Something Good - Rhythm (Of The Night) (Extended Mix) 2. Robert Miles, Tinlicker - Children (Extended Mix) 3. Chicane - Offshore (Disco Citizens Evolution Extended Mix) 4. Gat Decor - Passion (Do You Want It Rright Now) (Naked Mix) 5. Zoe Johnston, Above & Beyond - There's Only You feat. Zoe Johnston (Above & Beyond Extended Club Mix) 6. York - On The Beach (Kryder Extended Remix) 7. Above & Beyond - Can't Sleep (Ruben de Ronde & Elevven Extended Mix) 8. Zoe Johnston, Above & Beyond - Alchemy (i_o Extended Mix) 9. Grum, Tigerblind - Shout (Extended Mix) 10. Foret, Cosmic Gate - Need to Feel Loved (Extended Mix) 11. Nitrous Oxide, Simon Gregory - Fusion (Extended Mix) 12. Richard Bedford, Above & Beyond - Happiness Amplified feat. Richard Bedford (Above & Beyond Club Mix) 13. Sunny Lax - Emerald (Extended Mix) 14. ALPHA 9 - Before The Dawn (Extended Mix) 15. Nora En Pure - Monsoon (Extended Mix) 16. 7 SKIES - Sushi (Elevven Extended Mix) 17. DubVision - Fine Day (Extended Mix) 18. Airsand, TuraniQa - Better Of Alone (Original Mix) 19. Three Drives, Three Drives On A Vinyl - Greece 2000 (KREAM Extended Remix) 20. Beatsole - Inaccessible Worlds (Extended Mix) 21. Justine Suissa, Above & Beyond - Little Something feat. Justine Suissa (Super8 & Tab Remix) 22. Delerium - Silence (Stereo Express Remix) 23. Freefall, Jan Johnston - Skydive (Paul Thomas & Bluum Pres. BPT Extended Remix) 24. Above & Beyond, OceanLab - Satellite feat. OceanLab (ilan Bluestone Remix) 25. Tilt - Invisible (Jaytech Remix) 26. Cedric Gervais, Raffi Saint - Missing (Cedric Gervais Extended Version) 27. Orbital - Belfast (Yotto Remix) 28. Massive Attack - Teardrop (Bart Claessen & Tom Fall Bootleg) 29. Kaskade, deadmau5 - I Remember (John Summit Remix) (Extended Mix) 30. Axwell - Feel The Vibe ('Til The Morning Comes) (Vocal Club Mix) 31. ARTY - Zara (Extended Mix) 32. Above & Beyond - Sun In Your Eyes (Spencer Brown Club Mix) 33. Ferry Corsten, Kristian Nairn - Galaxia (Extended Mix) 34. Andy Moor, Whiteroom, Adam White - The Whiteroom feat. Whiteroom (Marsh Extended Mix) 35. Ronski Speed - The Perspective Space feat. Sir Adrian & Rex Mundi (Markus Mash Up Mix)

-It's a Bugaboo Tuesday for Bill today…what's bothering him this week?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "White Room" - Cream (1968)Show sponsored by GANA TRUCKINGAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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

"Life can only be understood backwards; but it must be lived forwards." - Soren Kierkegaard || 01. Orjan Nilsen - Land Of Mysteries [In My Opinion] || 02. Whiteroom ft. Amy Cooper - Someday (Alex M.O.R.P.H Remix) [Soundpiercing] || 03. Davey Asprey - Edgerunners [Damaged] || 04. Jayface - Ashes And Roses [Jayface] || 05. WhiteLight - Acid Rain [Interplay] || 06. Ascension - For A Lifetime (The Space Brothers Remaster Remix) || 07. Lasse Macbeth - Gorgeous [In Trance We Trust] || 08. Markus Schulz & Talla 2XLC - Mainhattan [Coldharbour] || 09. CJ Arthur - Frozen [Synchronized Melodies] || 10. Donato Donnaloia - Travel in Moments [Four Stripes] || 11. PsyNight - Nostalgia [Addictive Sounds] Never miss an episode! Subscribe to the Full Spectrum podcast, find the latest releases at https://ffaze.com

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I discuss The KLF's 1991 album, The White Room.

The indie band, Next to Godliness, are the favorites to win it all in this year's big battle of the bands! Each band member is a demigod and together their incredible powers are shaking things up on and off the charts. Will they make it to the stage for the big competition, or will some devious divinity get in the way? GM: Jason (probablyokgames.carrd.co/) Alex (alexteplitz.carrd.co/) Clara (clearlygolden.carrd.co/) Eli Kimi (goldenlassogirl.carrd.co/) ◇ Demigods is a PBTA hack by Probably Ok Games. ◇ Visit http://www.happyjacks.org/goingplatinum for a full list of this campaign's sessions as videos or podcasts. ◇ Follow Happy Jacks RPG on Twitter, Instagram, Facebook or hang out with other tabletop roleplaying fans in our Discord community! ◇ Subscribe to our other podcast feeds! We have a weekly tabletop RPG talk show based on topics sent in from fans around the world, and a great collection of One-Shots if you prefer bite sized adventures. ◇ You can watch us on Youtube or Twitch! ◇ Keep us independent by becoming a Patreon! Our fantastic supporters let us play and say what we want instead of catering to companies for ad or sponsorship money. They are HEROES! https://patreon.com/happyjacksrpg Ⓒ2023 Happy Jacks RPG Network https://www.happyjacks.org/

The indie band, Next to Godliness, are the favorites to win it all in this year's big battle of the bands! Each band member is a demigod and together their incredible powers are shaking things up on and off the charts. Will they make it to the stage for the big competition, or will some devious divinity get in the way? GM: Jason (probablyokgames.carrd.co/) Alex (alexteplitz.carrd.co/) Clara (clearlygolden.carrd.co/) Eli Kimi (goldenlassogirl.carrd.co/) ◇ Demigods is a PBTA hack by Probably Ok Games. ◇ Visit https://happyjacks.org//goingplatinum for a full list of this campaign's sessions as videos or podcasts. ◇ Follow Happy Jacks RPG on Twitter, Instagram, Facebook or hang out with other tabletop roleplaying fans in our Discord community! ◇ Subscribe to our other podcast feeds! We have a weekly tabletop RPG talk show based on topics sent in from fans around the world, and a great collection of One-Shots if you prefer bite sized adventures. ◇ You can watch us on Youtube or Twitch! ◇ Keep us independent by becoming a Patreon! Our fantastic supporters let us play and say what we want instead of catering to companies for ad or sponsorship money. They are HEROES! https://patreon.com/happyjacksrpg Ⓒ2023 Happy Jacks RPG Network https://happyjacks.org//