Podcasts about Wythenshawe

'That' matter. Yarborough Leisure Centre parkrun has a shock. City hypotheticals. Nicola went to Wythenshawe parkrun, didn't throw frogs in bins and wished she'd been sooner. Danny went to Cosmeston Lakes parkrun and needed absolution for a token misdemeanour.

Alex, Steve and Graham go through a throughly impressive away performance at Chesterfield that sees Crewe come away with a 3-1 victory.The women's team were in action against high flying Wythenshawe.We look ahead to Fleetwood and Salford with help from Cod Vlogs and One Up Front Respectively.We end with an LFS round up and a reminder to listen to our Ryan Dicker pod if you missed it. Remember you can help the running of the pod at www.buymeacoffee.com/therailwaymen Hosted on Acast. See acast.com/privacy for more information.

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Richard Duffy reflects back on the FA Trophy win against Wythenshawe FC and looks ahead to the visit to the same opponents in the league. Find out what to expect when visiting Wythenshawe with their media manager Aiden Beswick. Hear from Congleton Town Ladies manager Steve Wright and new signing Nicole Ronan after the women's season gets underway. Hosted on Acast. See acast.com/privacy for more information.

In the 15th episode of Season 8 of the Meet the Mancunian Podcast, host Deepa Thomas-Sutcliffe speaks with Tanny Rowland, Secretary of Wythenshawe Safety Patrol. Tanny shares her journey from experiencing homelessness at 17 to co-leading a non-profit organization dedicated to community safety and support in Wythenshawe. They discuss various initiatives like street patrols, a community café, a garden project, and safe places for vulnerable individuals. Tanny emphasises the importance of community involvement, overcoming challenges, and the power of positivity in making a difference. The episode concludes with heartwarming stories of lives transformed through their work and Tanny's gratitude for the support they receive. #Community #Safety #Allotment  #Homelessness #Manchester #GM #SocialImpact #NonProfit #Podcast Did you know:  ·     Community safety is all about the issues that make people feel safe or unsafe in their communities ·     This is often a shared responsibility between the community, the public sector (Council, Police), the private sector (local businesses), the faith sector, voluntary organisations ·     More than three-quarters of people (78%) feel safe in the area where they live, compared with 11% who do not  (Public polling on community safety in the UK in 2023) Key resource: The Real Wythenshawe Safety Patrol   Time stamps of key moments in the podcast episode & transcript: (01:48) Introduction and Welcome (01:57) Tanny's Journey: From Homelessness to Helping Others (02:50) Joining Wythenshawe Safety Patrol (03:56) Community Patrol Activities and Impact (05:54) Challenges Faced by the Organisation (07:26) Success Stories and Positive Outcomes (09:06) The Power of Social Media and Community Support (10:57) Advice for Starting Community Movements (13:45) Signature Questions: Manchester and Personal Insights (19:22) Heartwarming Stories and Conclusion Listen to the episode and read the transcript on www.meetthemancunian.co.uk  

For this little bonus episode, we get to tell you about an upcoming film called ‘The Silver Screen Dreams Café'. Here's the synopsis: Milton inherits his father's cafe which is facing debts and a loan shark. But an old flame's idea to turn the cafe into a local film studio ignites hope, rallying the community to save the cafe from a ruthless developer. Mike and Rebecca Peacock are the film-making duo who were inspired to shoot the movie they'd written with members of the Wythenshawe community. The stars of this feature film are members of the Greater Manchester community. Many of them include ex-offenders, a Ukranian refugee, a member of the travelling community, students and retired people. Many have struggled with their mental health. If you're lucky enough to be in the Manchester area, the premiere is this Friday at the Concord Conference Centre. You can book tickets here: https://tinyurl.com/38yyvej5

Another bonus while our wrestling season is quiet! Andy & Geoff are joined by Andrew Gibney to review Wythenshawe Town vs Chadderton in the Extra Preliminary Round of the FA Cup.Follow Ground Hops at @groundhopspod on X.Support this podcast at — https://redcircle.com/gcp/donations

Latest up from Spoken Label features making her debut, Kate Hook, Kate is a cheese-obsessed writer who was born in Wythenshawe, South Manchester. She now lives in Sale (primarily because they have a better selection of cheeses) with her husband and two children. She's been writing poetry since she was about six or seven years old, and describes herself as a “fair weather feminist” because putting out bins is definitely her husband's job, but she'll happily fight to close the gender pay gap, or end violence against women any day of the week. Much of Kate's poetry examines the unrealistic expectations that modern society places on people (mainly women!) and why we need to just step away from all the nonsense. This Podcast talks about mostly her debut book "I can hearing you ironing" which is described as " With a title inspired by an angry text that the sleep deprived, post-partum author once sent to her husband, this book is a must for anyone fed up with trying to survive modern life.  This candid collection of 40 poems takes a stark look at parenting, internet comparison culture, and political nonsense, and asks important questions such as… Why is bonfire night always crap? Is it normal to get this stressed by the school Whatsapp group? And why can't people on social media just be kinder to each other?!" The book can be purchased at: https://www.browndogbooks.uk/products/i-can-hear-you-ironing-kate-hook

We are joined by new signing Brian Ly and chat about his career, our shared history with Wythenshawe, life at Gigg under Dave McNabb, and his hopes for the new season...Subscribe to us wherever you get your podcasts, and follow The Mighty Shakers on social media... Facebook, X, Instagram and TikTokEmail - themightyshakers@outlook.com Hosted on Acast. See acast.com/privacy for more information.

Candidate: Mike Kane (Was an MP before GE called and will return as one hopefully on the 4th July) Constituency: Wythenshawe and Sale EastTo help Mike campaign for a new Labour government, look at Events on Labour Hub for up and coming events in the constituency. If you are or know of a Labour Candidate who would like to come onto the show. Email labourpodcast@gmail.com Twitter: @labourpodcastWant to donate to help kick the Tories out and get Labour in? Then just click this link https://donation.labour.org.uk/page/95385/donate/1?locale=en-GB- Fancy listening to the songs chosen by our Win24 Labour Candidates? Then check out our Spotify Playlist - https://open.spotify.com/playlist/4fejZmjzeSG36fgrxZryTx?si=dfdb82c93ed94fd8

We look back at the winless run of 3 games, discuss the sanctions placed on the club and look forward to the 6-pointer against Wythenshawe...Subscribe to us wherever you get your podcasts, and follow The Mighty Shakers on social media... Facebook, X, Instagram and TikTokEmail - themightyshakers@outlook.com Hosted on Acast. See acast.com/privacy for more information.

Hello Rank Squad!It's time for the weekly excerpt from our Monday Postbox episode on Patreon, where we take questions from our community to look back across all the action from the weekend just gone. This is the segment on the Manchester Derby, where Phil Foden took centre stage once again to light things up as Manchester City beat Manchester United 3-1 - City's Stockport sensation trumping United's Wythenshawe wizard on a day where two academy products scored brilliant goals for their respective sides. We discussed Foden's importance to this City side, his place right now in the POTY and Ballon d'Or debates, how United's tactics dissolved into a lack of cohesive plan in the second half, where Foden and Rashford sit in Gareth Southgate's England set up, and much more. The full episode is here!It's Ranks! And remember, if you'd like more from the Rank Squad, including extra podcasts every Monday and Friday (including our weekly Postbox taking a look at the whole weekend of football) and access to our brilliant Discord community, then why not join us here on Patreon?

EP39 - Liam Pickford - Down-an-alley Joining us on the AllMadeUp sofa is Comedian Liam Pickford. Synopsis: Wythenshawe local Daz is the prime witness in a huge case. What was it he saw you ask? Reindeer being rustled from Dunham Massey. Now under witness protection, the police have gone to great lengths to keep his real identity hidden by turning Daz into Lord Daz. Delusions of grandeur have taken over Daz's reality as he begins to believe he is the lord of Wythenshawe. Drunk on his new title he aims to cement his status by gaining the votes of the Wythenshawe locals to be the one to turn on the Christmas lights. However, to do this he must knock the much loved Darren Day or his perch. From fag dumps to painted ponies this is an AllMadeUp story like you've never heard before. Wanna follow Liam Pickford…Insta: @lpickford89FB: @Liampickfordcomedy Twitter: @FlowerOfAshtonWebsite: https://arushoflaughter.co.uk/liam-pickford Wanna follow Harry Stachini…Insta: @HarrystandupFB: @Harrystachinicomedian YouTube: @HarrystachiniTwitter: @HstachiniThe Staff Room PodcastWanna follow Lewis Coleman…Insta: @lewiscolemanTwitter: @LewisColeman93Wanna follow Ben Hart…Insta: @benhartcomedyFB: @benhartactorTwitter: @benhart0592CreditsRecorded by Lewis ColemanEdited by Clementine Bogg-Hargroves Produced by @GetGiddierArtwork by Elliot @melodyleeart Soundtrack by @grahammccuskerAll Made Up is proudly sponsored by - No Mind Collective. Liverpool's top streetw job ear brand. Whether it's t-shirts, hoodies or bandannas they're all about unique designs and top quality clobber. Use promo code - allmadeup - at check out for 10% on your next purchase. www.nomindcollective.com #NewPodcast #ComedyPodcast #Storytelling #Perioddrama #AllMadeUp Hosted on Acast. See acast.com/privacy for more information.

Mick Rossi in conversation with David Eastaugh https://secretrecordslimited.com/products/seccd293 https://open.spotify.com/album/6CDdnpP6vmKBji4D0JLslu?si=-aD8bL4ySwuM8Je73_5geA Legendary Slaughter & The Dogs guitarist Mick Rossi released solo album All The Saints and All The Souls in 2020 - his new album Gun St, named after the street where his family moved to in Ancoats in the 1930s, was released on Secret Records Ltd.  Slaughter and the Dogs are an English punk rock band formed in 1975 in Wythenshawe, Manchester. Their original line-up consisted of singer Wayne Barrett McGrath, rhythm guitar Mick Rossi, drummer Brian "Mad Muffet" Grantham, lead guitarist Mike Day and bassist Howard Bates.  

Un-Stacking T'daddy-tory #4 @DanGriffin21 & @UTTRob continue their journey through every surviving match Big Daddy and Giant Haystacks have on their road to Wembley '81 and a TV audience of 18 million viewers. This week, we head to Wythenshawe for the 27th December 1975 episode of World of Sport Wrestling featuring the oldest remaining footage of Big Daddy and Giant Haystacks teaming up, the feud with Kendo Nagasaki continues as he tags with Rex Strong. The only fragments of this match that are available are from the 2016 reboot of WOS. Watch what's left of the match here: https://youtube.com/shorts/Ynb1_Fwx8go?si=UJ0MnKMwyXm8c31F Follow @UTTPODCAST for updates on the series, our main show, and other projects.

As midweek saw FC Isle of Man's winless run stretch to seven games, the Manx side returned to The Bowl after another three weeks on the road to face an in-form Wythenshawe FC who were looking to continue their charge towards the top of the table Match commentary from Rob Pritchard and Sam Palmer

Unemployment down, EasyJet cutting flights, Ravens face Wythenshawe FC, Manx Litfest is on, self-harm awareness session & IOMSP 'no preferential treatment'. It's Update with Andy Wint #iom #news #manxradio

In a repeat of the final game of last season, FC Isle of Man got their 2023/24 NWCFL Premier Division campaign underway at The Bowl against one of the big-hitters in the division last season, Wythenshawe Town who arrived on Island with a new manager and new-look squad

Game of Thrones and Moonfall star John Bradley joins Choccy, Mark and Matthew for the new episode. He discusses Manchester United goalies, the pressures of acting, David Beckham's right foot, hooking up with J-Lo, and bizarre football injuries amongst other things! Music by Liam McClair and Crowander Learn more about your ad choices. Visit megaphone.fm/adchoices

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 --

Everyone has a breaking point, don't they? We are off to Wythenshawe, in Manchester, this time around on The True Crime Enthusiast Podcast, to hear a tragic, horrific tale of what can happen when a person is chipped away at, by a person who has control of them. They can commit the most abhorrent, alien of acts. The episode contains details and descriptions of crimes and events, including injury detail, that some listeners may find disturbing and or distressing, so discretion is advised whilst listening. Music used in this episode: "The Descent" by Kevin Macleod. All music used is sourced from https://filmmusic.io/ and used under an Attribution Licence (https://creativecommons.org/licenses/by/4.0/) Show Sponsors Canva - Design and collaborate with Canva for Teams! Right now, you can get a FREE 45-day extended trial when you go to Canva.me/tce Playlist Tracks Strange Ranger - She's On Fire The National - Your Mind Is Not Your Friend The True Crime Enthusiast's Fundraiser For Macmillan Cancer Support References  https://www.oxfordmail.co.uk/news/5064839.grounded-pilot-wants-15-000-back-varsity-express/  https://www.northwichguardian.co.uk/news/18112932.wincham-man-peter-chilvers-bullied-partner-breakdown-stabbed-son-1-death/  https://www.standard.co.uk/news/crime/peter-chilvers-magda-lesicka-abuse-wife-jailed-a4318351.html  https://www.manchestereveningnews.co.uk/news/greater-manchester-news/magdalena-lesicka-peter-chilvers-james-17448590  https://www.liverpoolecho.co.uk/news/liverpool-news/mum-stabbed-toddler-death-after-17451091  https://www.dailystar.co.uk/news/latest-news/ryanair-pilot-forced-wife-eat-21133372 https://www.manchestereveningnews.co.uk/news/greater-manchester-news/peter-chilvers-magdalena-lesicka-wythenshawe-17448710  https://www.mirror.co.uk/news/uk-news/fury-evil-ryanair-pilot-who-23373907  https://www.mirror.co.uk/news/uk-news/mum-slams-early-release-man-23373849  https://www.manchestereveningnews.co.uk/news/greater-manchester-news/bullying-ryanair-pilot-peter-chilvers-19689416 https://www.manchestereveningnews.co.uk/news/greater-manchester-news/peter-chilvers-magdalena-lesicka-wythenshawe-17448710 https://www.manchestereveningnews.co.uk/news/greater-manchester-news/james-chilvers-peter-chilvers-lesicka-17448344 https://www.manchestereveningnews.co.uk/news/greater-manchester-news/peter-chilvers-magdalena-lesicka-wythenshawe-17446813 https://www.manchestereveningnews.co.uk/news/greater-manchester-news/peter-chilvers-magdalena-lesicka-wythenshawe-17445256 https://www.dailymail.co.uk/news/article-9183697/Fury-cheating-Ryanair-pilot-drove-fiancee-stab-baby-death-released-early-prison.html https://www.stokesentinel.co.uk/news/stoke-on-trent-news/pilot-peter-chilvers-released-prison-4931876 https://www.independent.co.uk/news/uk/crime/pilot-jail-coercive-control-baby-death-girlfriend-peter-chilvers-a9253976.html https://www.bbc.co.uk/news/uk-england-manchester-50820639 https://www.warringtonguardian.co.uk/news/18115990.warrington-link-heartbreaking-killing-toddler/ https://www.hulldailymail.co.uk/news/hull-east-yorkshire-news/ryanair-pilot-toddler-killed-mum-3662790 https://www.manchestereveningnews.co.uk/news/greater-manchester-news/magdalena-lesicka-peter-chilvers-james-17448590 https://www.gmp.police.uk/news/greater-manchester/news/news/2019/december/two-parents-have-been-jailed-following-the-death-of-a-toddler-in-wythenshawe/ https://metro.co.uk/2021/01/25/mum-hits-out-at-release-of-abuser-blamed-for-daughter-killing-son-1-13958185/ https://www.theguardian.com/uk-news/2019/dec/19/man-jailed-for-coercive-treatment-of-girlfriend-who-killed-young-son https://www.dailypost.co.uk/news/uk-world-news/case-toxic-relationship-left-toddler-17451754 https://expressdigest.com/tom-rawstorne-examines-the-background-of-air-stewardess-33-who-killed-her-son/ https://www.dailypost.co.uk/news/uk-world-news/case-toxic-relationship-left-toddler-17451754 https://www.liverpoolecho.co.uk/news/uk-world-news/ryanair-pilot-whose-abuse-led-19696175 Peter Chilvers Appeal Judgement August 2021 Helplines The Greater Manchester Domestic Abuse Helpline is available to offer support for victims on 0161 636 7525 - Mon – Fri 10am – 4pm (excluding bank holidays). Alternatively the National Domestic Violence Helpline is available on 0808 2000 247 24 hours a day, seven days a week. Domestic abuse help and support Domestic violence or abuse can happen to anyone. NHS advice says if you are at risk of domestic abuse or violence you can: Talk to your doctor, health visitor or midwife Women can call 0808 2000 247, the free 24-hour National Domestic Violence Helpline run in partnership between Women's Aid and Refuge Men can call the Men's Advice Line free on 0808 801 0327 (Monday to Friday 9am to 5pm) or ManKind on 01823 334 244 In an emergency, call 999 The Survivor's Handbook from Women's Aid is free and gives information on issues such as housing, money, helping children and legal rights. Men can email info@mensadviceline.org.uk, which can refer you to places that can help, such as health services and voluntary organisations. SWACA – Sefton Women's and Children's Aid offers free practical and emotional support to women, young people, and children suffering from domestic abuse. You can contact SWACA by phone on 0151 922 8606, by text on 07779745594 and by email at help@swaca.com For forced marriage and "honour" crimes, contact Karma Nirvana (0800 5999 247) or The Forced Marriage Unit (020 7008 0151). Merseyside-based charity Savera UK supports people at risk of 'honour'-based abuse, forced marriage, female genital mutilation and other harmful practices. You can call their national helpline on 0800 107 0726 on weekdays between 9am and 5pm. Galop provides support to lesbian, gay, bisexual and transgender people experiencing domestic violence. Anyone who needs confidential help with their own abusive behaviour can contact Respect on their free helpline on 0808 802 4040. Follow/Contact/Support The True Crime Enthusiast Podcast Facebook Facebook Discussion Group Twitter Instagram Youtube Website TTCE Merchandise Patreon Page Remembering James

Hoping to end their season with a fifth straight win, an in-form FC Isle of Man hosted Wythenshawe Town in their final game of the NWCFL Premier Division season, with the visitors still carrying faint hopes of securing a promotion play-off spot Commentary from Rob Pritchard and Sam Palmer

Seasoned professional Jimmy 'Kilrain' Kelly is on the show to discuss his future in boxing. After valiantly fighting Jamie Munguia in 2022, Jimmy recently returned to the ring with a victory and is now taking boxing to Kuwait as he faces Magomed Kurbanov in an exhibition bout. Jimmy talks about his boxing career, the purpose of the next bout, and his future in the sport. Learn more about your ad choices. Visit megaphone.fm/adchoices

This one-off episode explores what equality means to children in Manchester and what adults can do to make things better for the next generation. Presented by Sarah Emmott and Rachel Moorhouse. Small Voices has been made in partnership with Manchester City Council as part of their ‘Our Year 2022' project celebrating and supporting young people in Manchester. Created with St. Wilfrid's Church of England Primary School in Newton Heath, Crowcroft Park Primary School in Longsight and Haveley Hey Community School in Wythenshawe, featuring renowned poets mandla, David Viney and Louise Wallwein MBE. www.artwithheart.org.uk

John & Justin pick a stock from a Small Cap Growth & Income Screener. These are companies that are growing but who also pay a dividend. The criteris the companies had to fulfil to fit this screener were: Market Capitalisation below £250m, minimum earning per share forecast growth of 10%, minimum forecast dividend yield of 3.5% and dividend cover of 1. John's Pick is: Severfield #SFR Severfield is the UK's market leader in the design, fabrication and construction of structural steel, with a total capacity of c.150,000 tonnes of steel per annum. The Group has six sites, c.1,500 employees and expertise in large, complex projects across a broad range of sectors. The Group also has an established presence in the expanding Indian market through its joint venture partnership with JSW Steel (India's largest steel producer). Justin's Pick is: Coral Products #CRU Coral Products PLC is a manufacturer and distributor of plastic products within a wide range of sectors. The Group has operations in the UK with manufacturing facilities in Wythenshawe and Hyde, Greater Manchester and distribution facility in Hyde, Greater Manchester.

Here's what was shared at our Members Meeting

#532. Ed & Dan talk about United's very late win against West Ham at Old Trafford. Was this the first coherent performance under interim manager Ralf Rangnick? Victory takes United into the top four. For backers, a review of this weekend's Premier League games.No Question About That is available on Apple, Google, Stitcher, Spotify, YouTube, Amazon and all good podcast apps. We really appreciate your support. Please hit that subscribe button, leave a rating and write us a review! Talk to us on Twitter and Instagram. If you are interested in supporting the show and accessing exclusive bonus episodes, check out our Patreon page. See acast.com/privacy for privacy and opt-out information.

This week's Mancunian guest is Jean Wright is the Eco Lead for Wythenshawe Waste Warriors (https://wythenshawewastewarriors.co.uk/). Wythenshawe Waste Warriors are a group of volunteers focused on cleaning up the parks and green spaces in Wythenshawe. Jean shares her experiences with the link between litter pollution and climate change. She also shares her favourite places in Manchester. If you are concerned about litter and its impact on biodiversity, this episode is for you. Get inspired and perhaps consider a similar volunteer movement in your community. --- Send in a voice message: https://podcasters.spotify.com/pod/show/deepa-thomas-sutcliffe/message

Nigel Rothband welcomes John Stapleton, Spencer Debson and Steve Cox to discus a comfortable win at Swindon, a missed penalty, a great free kick, Alan Davies, a look forward to Chelsea, and more.  citypodcast.net  @citypodcast  Produced by Paul Myers and Mike Leigh  Engineered by Leon Gorman  A Playback Media Production  playbackmedia.co.uk  Copyright 2022 Playback Media Ltd - playbackmedia.co.uk/copyright Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nigel Rothband welcomes John Stapleton, Spencer Debson and Steve Cox to discus a comfortable win at Swindon, a missed penalty, a great free kick, Alan Davies, a look forward to Chelsea, and more. citypodcast.net @citypodcast Produced by Paul Myers and Mike Leigh Engineered by Leon Gorman A Playback Media Production playbackmedia.co.uk Copyright 2021 Playback Media Ltd - playbackmedia.co.uk/copyright

Marcus Rashford MBE is famous worldwide for his skills both on and off the pitch – but before he was a Manchester United and England footballer, and long before he started his inspiring campaign to end child food poverty, he was just an ordinary kid from Wythenshawe, South Manchester. Now the nation's favourite footballer wants to show YOU how to achieve your dreams, in this positive and inspiring guide for life. Order your copy of "You Are a Champion" from your local bookstore or here on Amazon.

It's Tuesday and that means one thing... The Robs are back to answer your property questions.  Kicking us off this week is Tom.  Tom has two HMO student lets in Cornwall that he invested in personally. They both earn around £1,800pcm.   He bought the properties five and 10 years ago and while capital appreciation has been pretty decent, he's never released any equity from them.  He's saved around £80,000 and is looking to invest in another student HMO in the same location, but this time using a limited company, rather than in his personal name.   Tom can get a 4-5 bed property for around £280,000 and his rental income would be around £2,000pcm, with mortgage costs of around £600 per month.  He likes the hands-on side to his strategy and wants to keep at it but he's wanting to know if it's a risky option, tying up all his money in one location when properties further north are more affordable.   Our next caller this week is Rachel.  Rachel is looking to invest in South Manchester, around the Wythenshawe area, which is close to the hospital and airport, in an ex-council property and use the serviced accommodation strategy.  She's wanting to know if The Robs think this is a good idea and if they'd recommend investing in an ex-council property.  Tune in to find out what they say.    Do you have a buy to let or property investment related question for Rob & Rob? You could feature on the next episode by giving us a call on 013 808 00035 and leaving a message with your name and question (normal UK call rates apply).   Or if you prefer, click here to leave a recording via your computer instead.  The next question on Ask Rob & Rob could be yours.   Have you joined us over on the Property Hub Forum yet? Our online community is friendly, informative, and the members are waiting to welcome you with open arms. So get yourself over and introduce yourself. See omnystudio.com/listener for privacy information.

Some call it Agartha, not to be confused with Agatha. The Earths a shell of its former self, not to confused with Michelle.   If you like these you can find a lot more of my shows on https://www.threshold.fm/ - Wednesday at midday and a live show with Jimmy Budd every Thursday at 7pm.   Find my taxidermy, social medias and merchandise here https://linktr.ee/worldaroundewe

Jane is a pharmacist at Wythenshawe Hospital, Manchester. She lives in Didsbury, South Manchester, with her husband Steve and has two grown-up children. Jane grew up on the border of Sheffield and Derbyshire where her family had lived for generations. Jane enjoyed secondary school, where she gravitated towards the sciences which led her to London to study clinical pharmacy at London University before completing her pre-registration year at St George’s Hospital, and then a two-year Basic Grade Pharmacy at Kings College Hospital. Jane then went overseas to work in a Christian hospital in Northern India which had a focus on supply and quality of products coming into the country. From there, Jane came back to the UK and worked in a number of different hospitals before settling at Wythenshawe Hospital in Greater Manchester, where she works on a part-time basis. To find out more visit: https://interserve.org.uk 

It's week 23 so it's the letter W. Simon talks about flying around Winter Hill, his love for Woolworths and what happened when he met Hugh Fearnley-Whittingstall. You can find this week's playlist on Spotify here: https://cutt.ly/mheNsJO Produced and edited Jackie O'Malley. Post Production Karl Svenson, Tadah Media Ltd. Artwork Lee Dyer. Music by Colin McGrath, Joe Brown, Johnny Smale and Simon Wolstencroft. Find out more at https://funky-si-s-a-z-of-manchester.pinecast.co Find out more at https://funky-si-s-a-z-of-manchester.pinecast.co

This week was supposed to be a reset moment for Boris Johnson, with new management in Number 10 following the departure of Dominic Cummings. But the prime minister is self-isolating after coming into contact with an MP who tested positive for coronavirus. Mike Kane, Labour MP for Wythenshawe and Sale, tells Bloomberg Westminster's Sebastian Salek and Caroline Hepker that even if restrictions are lifted after December 2, he sees the country staying in "lockdown by stealth" via the tier system. Plus, Dominic Cummings's trip to Barnard Castle drew strong responses in the polls. So what do people make of his departure? Ben Page from Ipsos MORI joins to discuss.

Is defeat to Basaksehir a step too far for Solskjaer in the eyes of Man United fans? Nooruddean Choudry aka Bearded Genius tells us. Man City v Liverpool headlines the Premier League weekend. Are Liverpool closer to what Klopp wants than City are to what Pep wants? And is Diogo Jota the new Ronnie Rosenthal? Plus: Reece James is the best crosser in the Premier League, Tuchel’s future at PSG, the fixture computer and backing into players across the globe. RUNNING ORDER:    • PART 1a: Champions League round-up – United embarrassed (02m 00s) • PART 1b: Leipzig 2-1 PSG (06m 30s)  • PART 1c: The Russians struggle (10m 00s) • PART 1d: Atalanta 0-5 Liverpool (14m 00s)  • PART 1e: Reece James & Kiev keepers (18m 00s) • PART 2a: Man City v Liverpool preview (23m 30s) • PART 2b: Everton v Man Utd preview with Nooruddean Choudry (31m 00s) • PART 3: The rest of the weekend’s PL action (43m 00s)  • PART 4: The odds with Lee Price from Paddy Power (56m 30s) • PART 5: Wycombe and WSM (58m 00s)     SIGN UP TO THE ATHLETIC FOR £1 A WEEK • theathletic.com/totally   GET IN TOUCH: • follow us on Instagram • find us on Facebook • send us a tweet: @TheTotallyShow   PARISH NOTICES: • we’re sponsored by Paddy Power - home of the Money Back Special   READ STUFF ON OUR WEBSITE: • check out thetotallyfootballshow.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Manchester United are making light work of the Champions League (so far)! A ruthless 5-0 win over RB Leipzig preceded a drab 0-0 draw with Chelsea this week, with Marcus Rashford's second half hat trick the latest impressive exploit in the Wythenshawe native's expanding portfolio. Iwan and Paul pour over Wednesday night's satisfying win. For more information on us, visit www.redvoices.net See acast.com/privacy for privacy and opt-out information.

It's crucial to deal with the scourge of anti-semitism in the party says Mike Kane, Labour MP for Wythenshawe and Sale East. He tells Bloomberg Westminster's Caroline Hepker and Roger Hearing that if the party is bankrupted by costs from the court case involving former Labour staff over the handling of anti-semitism complaints, so be it - anti-semitism must be rooted out, he says. Kane also discusses the government's handling of the quarantine regulations on British tourists coming back from Spain, saying it has been confusing and with very little coordination. Plus - the huge cost of the lockdown and entry restrictions to Britain's tourist industry. Patricia Yates, director of strategy and communications at VisitBritain says visitors to the U.K. are down by two thirds and a third of those who work in the industry here could lose their jobs.

The Manchester United forward is credited with forcing a government U-turn this week, following his open letter calling on the government to end child poverty and extend free school meals for children during the summer holidays. Born in Wythenshawe and raised by a single mum, Marcus Rashford caught the eye of professional clubs at an early age. At first training with both Manchester City and Manchester United, he decided to dedicate himself to the Reds, and rapidly rose through the ranks. He debuted for the senior squad at 17 years of age, scoring twice, and scored again when he was first called up for England. A regular fixture for both United and England, he is now gaining attention for his philanthropic work, which is said to be inspired by the struggles he and his family faced when he was growing up. Producer: Richard Fenton-Smith

Ant encourages us from John 9. King's Church is a family of people from many different backgrounds all with one thing in common; we think Jesus is truly awesome. Wythenshawe is our community based in South Manchester. Take a listen to some of our most recent talks. Check out preaching from all our other communities. Go to www.makingjesusfamous.org/preaching to listen.

Reaction from a loss. Welcome back, football.

Cath encourages us with a preach on John 8. King's Church is a family of people from many different backgrounds all with one thing in common; we think Jesus is truly awesome. Wythenshawe is our community based in South Manchester. Take a listen to some of our most recent talks. Check out preaching from all our other communities. Go to www.makingjesusfamous.org/preaching to listen.

Stel and Rhodri Giggs are joined again by El Paso Locomotive FC midfielder and coach Richie Ryan to review the weekend's Premier League games. We begin with Tottenham's victory over Manchester City where Steven Bergwijn's wonder goal on his debut stole the show. Sheffield United's league position earns them a lot of praise from the panel while Manchester United's limp performance against Wolves has us shrugging our shoulders (again). There's a discussion about Everton's impressive form under Ancelotti and Bournemouth's change in fortunes upsets Stel. All this plus EUROTRASH -------------------------------------------------------- Sponsors: Supatips.info (http://supatips.info/) . The football tips and statistics site for all your betting needs. Visit www.supatips.info (http://www.supatips.info/) and follow them on Twitter @SupaTips_365 Name That Player app. Download here - https://play.google.com/store/apps/details?id=org.julian.ntpnamethatplayer&hl=en_GB - https://apps.apple.com/bt/app/name-that-player/id1422381109 Intro theme is Topps - Social Download here Apple Music - https://music.apple.com/gb/album/social-single/1427419114 Amazon Music - https://www.amazon.co.uk/Social-Topps/dp/B07GHXMSPH

Rob McKay gives reaction to a late draw in Wythenshawe.

Chris Rowley’s debut game

Judith Anniss - Slow Down, Get Up, Get Going - 5th December 2019 - Wythenshawe by King's Church in Greater Manchester

Kofo Bolarin - Slow Down And Be There - 10th November 2019 - Wythenshawe by King's Church in Greater Manchester

Adrian Nottingham - Kneel - 3rd November 2019 - Wythenshawe by King's Church in Greater Manchester

James encourages us to see God in all of creation around us.

Here's all the audio from our Sunday gatherings on the 27th of October.

This sermon was preached by Andy Wisdom at the Wythenshawe site of Christ Church Manchester. To find out more about CCM Wythenshawe please visit www.christchurchmanchester.com/wythenshawe

This sermon was preached by James Everall at the Wythenshawe site of Christ Church Manchester. To find out more about CCM Wythenshawe please visit www.christchurchmanchester.com/wythenshawe

This sermon was preached by James Everall at the Wythenshawe site of Christ Church Manchester on Judges 6:11-17 To find out more about CCM Wythenshawe please visit www.christchurchmanchester.com/wythenshawe

Ruth challenges us to take the time to listen to God and to give our attention to Him.

Sarah Lawrence inspired us to take time in our day to just turn off, o slow down into healthy rhythms of rest.

This sermon was preached by Tunde Olinloye at the Wythenshawe site of Christ Church Manchester on 1 Corinthians 12. To find out more about CCM Wythenshawe please visit www.christchurchmanchester.com/wythenshawe

Judith challenges us to take time to go deeper into Love with God.

This sermon was preached by Andy Armstrong at the Wythenshawe site of Christ Church Manchester on John 15:1-8 as part of the Connect Series. To find out more about CCM Wythenshawe please visit www.christchurchmanchester.com/wythenshawe

Graham encourages us to reealy go deep into community together and allow time for God to move amongst us as a community.

This sermon was preached by James Everall at the Wythenshawe site of Christ Church Manchester on Judges 6:11-17. To find out more about CCM Wythenshawe please visit www.christchurchmanchester.com/wythenshawe

Cath challenges us to take time and find where God is at work in your life at the moment.

Rhian challenges us in truely knowing our identity in God and always starting off in that place and not in anything else.

A brand new group set up to support young people affected by bereavement in Wythenshawe made the news when it was featured on BBC Radio Manchester.Gaynor Jackson from Benchill, who established Bereavement 4 Kids was interviewed live on the breakfast programme where she talked about the new weekly group that meets from 4pm to 5.30pm every Monday afternoon at Benchill Community Centre in Wythenshawe.The group was established by Gaynor for children who have suffered the loss of a loved one. Gaynor was encouraged and supported to set up the group by Forever Manchester’s Community Builder Vikki Snowden as part of her ongoing work in the area. As a result, Gaynor recognised a need and planned the development of the group and, along with Vikki’s support and assistance, received a £250 Cash 4 Graft award from Forever Manchester to purchase necessary equipment and refreshments.When Gaynor lost her husband, she felt like there was no support for her children. This inspired her to create a group where children and adults sharing similar experiences could come together to do an array of activities aimed at helping them to deal with their loss.Gaynor said “We met Vikki from Forever Manchester, we had a few chats and organised a couple of activities such as an Easter Hunt and a Bingo & Breakfast in the Community event. We got a good bond going and came up with the idea of the Bereavement Group for local families affected by the loss of a loved one.”Forever Manchester's Community Builder Vikki Snowden said “Bereavement 4 Kids is great example of what can be achieved with just with a little bit of encouragement and support”. Notes:Forever Manchester is the only charity that raises money to fund and support community activity across Greater Manchester.If you live or work in Greater Manchester, Forever Manchester will have funded a community group or local project within a mile of where your home or place of work.  

At 25 years old, this Strong Manchester Women decided to take action against the injustices she was seeing in society. This wasn't simply the signing of a petition, she wanted to tackle community issues and concerns right at their core, so she put herself forward become a councillor in her local community. In this episode, your host Vic Elizabeth Turnbull speaks to Sarah Judge, Manchester City Council’s member for Woodhouse Park and the Lead Member for women. Born and raised in Wythenshawe, Sarah is passionate about ensuring young women believe in themselves and have the opportunities and support they need to achieve their dreams. She has worked as a community organiser developing grassroots campaigns and was the brains behind the ‘Scrap the Fee’ campaign, which opposes financial charges for women who need medical professionals to confirm that they are suffering domestic abuse.  She also helps to run Wythenshawe Safespots, a user-led domestic abuse charity. In this episode Sarah talks about, the shift from a normal 25 years old to councillor  how to be a resilient and  authentic public leader what it’s really like on election night dealing with public backlash balancing day jobs and being an elected council member  the reality of working alongside her councillor dad  the spark that instigated her desire to help people the long process of becoming a local councillor "Each problem that someone comes to you with is the most important thing in their world at that moment. So I have to make it the most important thing in my world at that moment." Sarah Judge Links and information SafeSpots (https://safespots.org.uk) is the charity that Sarah runs Sarah’s on twitter here (https://twitter.com/sarahjudge90) There’s a website that explains how to become a councillor, it’s (obviously) called BeaCouncillor.com (https://beacouncillor.co.uk/) Read the full transcript of this episode here (http://bit.ly/2L7pYiF)   Listen to other Strong Manchester Manchester Women podcast episodes visit, www.MICmedia.co.uk/StrongManchesterWomenPodcast (http://www.micmedia.co.uk/StrongManchesterWomenPodcast) Strong Manchester Women  The podcast is inspired by the annual Strong Women campaign. The 14 women profiled in this podcast were selected for the 2019 campaign. For more information about the women visit The Pankhurst Trust’s website (https://www.pankhursttrust.org/get-involved/events/strong-manchester-women-display) .  Credits  Produced, edited and artwork by MIC Media www.MICmedia.co.uk (http://www.micmedia.co.uk) @MICmediauk (http://www.twitter.com/micmediauk) Next Episode Released 18th September

James encourages to find the time to seek God in the great story he is telling through our lives.

Brad Cooke speaks to Barca Jim after a late equaliser costs his side a win in an even game.

Running a community centre can come with its challenges and rewards. Especially, if like this Strong Manchester Woman, you run one welcomes 300 people through its doors each day. In this episode, your host Vic Elizabeth Turnbull speaks to Francess Tagoe, the CEO of the Tree of Life charity in Wythenshawe, Manchester.  Francess gives you an honest account of,  life behind the scenes at the centre her everyday role models how her faith plays a big role in her approach to leadership & life being written off as a failure at university the trials and joys of being a single mum  what to do if you're feeling down and without a support network her life outside of the centre, including her work as a preacher living up North “I dare you to rise up because there's an eagle inside of you that is waiting to soar and you can do it. If you dare to believe in yourself, you can do it. If you dare to believe in your future and the potential that lies within, you can do it.” Francess Tagoe Links and information The Tree of Life Centre (http://www.treeoflifecentre.org.uk/wordpress/ )   Francess on twitter (https://twitter.com/fran_tagoe)   You can read the full transcript of the episode here (http://bit.ly/2YyANTu) . To listen to other Strong Manchester Manchester Women podcast episodes visit, www.MICmedia.co.uk/StrongManchesterWomenPodcast (http://www.micmedia.co.uk/StrongManchesterWomenPodcast) Strong Manchester Women  The podcast is inspired by the annual Strong Women campaign. The 14 women profiled in this podcast were selected for the 2019 campaign. For more information about the women visit The Pankhurst Trust’s website (https://www.pankhursttrust.org/get-involved/events/strong-manchester-women-display) Credits  Produced, edited and artwork by MIC Media www.MICmedia.co.uk (http://www.micmedia.co.uk) @MICmediauk (http://www.twitter.com/micmediauk) Share, comment and show some love for the Strong Manchester Women podcast using the hashtag #StrongMCRwomen  Next Episode Released 7th August

Adrian explores the story of Mary and encourages us to be more like Mary.

Cath challenges us by looking at the early church and exploring what the community looked like after Jesus resurrection.

Kofo shares his wisdom on creating a culture of discipleship

Michael challenges us to live the life of the radical disciples with everything that we have.

“When we need to find new people, one of the main ways we find them is by going into the local prison.” In this episode of Behind The Balance Sheet, I speak to Timpson's CEO James Timpson. He tells me that the company wants to employ people with “amazing personalities” and plenty of former prisoners fit the bill (more than 10% of staff have been recruited from prisons). Alongside his role at Timpson, James is chair of the Prison Reform Trust. Trust and kindness are regarded as crucial to how Timpson operates. The business favours upside-down management, trusting branch managers to run their shops as they see fit. Despite recent expansion, the business is anything but corporate. There is a real sense of fun at Timpson’s offices in Wythenshawe, Manchester. A Director of Happiness ensures colleagues are happy at work. Alongside the Timpson’s main cobblers and key cutting business, other chains owned by the company include Johnsons, Snappy Snaps and Max Spielmann. Behind The Balance Sheet is a business podcast, presented by Julie-Anna Needham. Each episode features an interview with a founder or leader. We hear about their business, discover what inspires them and find out what keeps them awake at night. 

Sarah is Clinical Lead Speech and Language Therapist (SLT) specialising in critical care, tracheostomy and complex dysphagia and has worked at Wythenshawe hospital, Manchester since 2002. As an RCSLT expert advisor for 18 years she has contributed to a number of key policies and guidelines, including GPICS, NCEPOD ‘On the right trach’ and RCSLT position papers in FEES (Fibreoptic Endoscopic Evaluation of Swallowing) and Critical Care. She is Chair of the RCSLT Tracheostomy Clinical Excellence Network and SLT representative on the NTSP (National Tracheostomy Safety Project) actively promoting clinical knowledge sharing, best practice, multidisciplinary tracheostomy team and SLT service development. She is on the UK Swallowing Research Group committee and researches into the effects of tracheostomy and ventilation on communication and swallowing, most recently Above Cuff Vocalisation (ACV). Sarah travels widely and has worked in Singapore and also as a volunteer for Speech Therapy Cambodia.

This week the boys are in Andy's home town of Wythenshawe recording round his dining room table. Our guest this week is internet sensation, Comedian / Youtuber Tim "Tiny Tim" Bradbury. Tim pulls an absolute blinder out of the bag with his subject and brings his witty charm and amazing sense of humour to OE.We talk; Parenthood, Youtube / Internet fame and Tommo's broken childhood TV. See acast.com/privacy for privacy and opt-out information.

Flow is a creative agency specialising in animation, film and video production. I'm joined by founder and Creative Director Karl Doran who shares a great story of yet another unconventional, longer route into the arts. Karl discusses the recent run of awards, how the work of Barney Ibbotson in the studio windows brought in a crucial job for Arts Council England and why it's essential to create a dynamic environment of respect for all staff at an agency, with space for individuality and ideas breeds great results. We also discuss the current Manchester creative scene, the city's transformations over the last decade and why growing up on formerly Europe's largest council estate, Wythenshawe wasn't such a bad thing. Get your thoughts over on social media @arrestallmimics and tell us how you deal with the awkward scenario of not recognising someone you chat to on social media, in real life! http://www.weareflow.uk/ https://www.instagram.com/weareflow/ https://twitter.com/kddoran https://twitter.com/We_Are_Flow

Adrian helps us to navigate the storms of life in our relationships and to navigate issues of justice and mercy.

In episode ten, we're in Wythenshawe, hosted by Vodafone where we asked our panel "How do you change your career?" We also talked about when you should stop working for free when trying to build your career and discussed whether men should always be included in conversations around empowering women. Buisiness powerhouse Julie Kenny talked to us about taking risks, being yourself and understanding how to deal with different people.   And in Ask The Hive, Olivia asks: What do I need to do now to increase my changces of getting to board level?  Plus all the Northern Power Women news you need.

Dave helps us to be secure in our identity as sons and daughters of the King. We are royals!

Rhian helps us to plug into the power of the Holy Spirit and to understand who He is.

Marc and Rob discuss W for lost Pistol Wally Nightingale, 'not-a-punk-band' Wire and the dysfunctional success that is Wreckless Eric. Plus stories of glam rock from Wythenshawe and learn whose middle name isn't Penelope.

To celebrate Inkheart taking to our stage, we have been asking school pupils across Wythenshawe to send us their short stories inspired by the magic of reading, as part of our World Duty Free Storywriting Competition. The winning story was selected by none other than Inkheart author Cornelia Funke. And the winner was... Leigh-Ann Coley from Saint Paul's Catholic High School. Listen to Cornelia read the winning piece... #Inkheart continues on our stage until Sat 9 Jan. Book tickets and find out more here - http://bit.ly/1GZ4zmd Brought to you in association with Virgin Media Business http://www.virginmediabusiness.co.uk/

Throughout August we ran some fun, free creative workshops in Wythenshawe. The work the community produced was showcased in an installation that accompanied our production of Romeo & Juliet at Victoria Baths. We take a look back at the sound design workshop... #RomeoAndJuliet #HOMEmcr #Engagement #CommunityProject #AudioWorkshop #Manchester

On this week's podcast Rafael Behr, Helen Lewis and George Eaton talk Wythenshawe and leadership prospects, Ian Steadman asks why nobody is stating the obvious on climate change, and Laurie Penny describes her experience at Yarl's Wood Immigration Removal Centre. See acast.com/privacy for privacy and opt-out information.

like a S-A-W track. there's Hazell, Kylie, Jason and Pete. There's Nessie, a wallaby, Danas, SuBo, SuPo and some gay news. It's campy dancy all the way.

Good Old Dame Vera Lynn kept us going throughout our campaign of terror against depressing gay news! There's Iris Robinson and other assorted homophobes. Please let there be some good gay news next time! Please note it's not us that puts 2 asterisks in the big G word, its our hosts and/or iTunes!