It has often been said that the Devil has all the best tunes. There is also supposed to be something diabolic about certain types of music and there is the interval known as diabolus in musica (the Devil in Music) a.k.a the tritone, an interval known for dissonance.
Diabolic and Satanic imagery has long been associated with heavy metal and Goth has always been as much about decaying ruins, vampires and death as it has about music.
Jimmy Page was, at one time, deeply interested in Aleister Crowley, the so-called Wickedest Man Alive and founder of the occult religion of Thelema (motto – Do What Thou Wilt Shall Be The Whole Of The Law) and the late Graham Bond was so obsesed with Crowley that he formed a band called Holy Magick and believed himself to be Crowley’s son.
Earlier still, it was said that Robert Johnson bacame a blues guitar phenomenon because of a pact with the Devil, signed at midnight, down at the crossroads. This idea later spawned a film about the same subject, culminating in a guitar battle between the Devil’s guitar hero, played by Steve Vai and the hero of the film, Eugene (guitar work by Ry Cooder).
So, music has a long tradition of dealing in the Black Arts and this playlist covers all the bases from posession and exorcism, through witchcraft, occult ceremonies and the Undead athrough to Hell and Damnation.
As you can see, we have 11 tracks. The task here is to decide which one will be saved from the Pit and which one will be cast into the Outer Dark forever.
The track listing is:
Charlie Daniels Band – The Devil Went Down To Georgia
Siousxie and the Banshees – Spellbound
David Byrne and Brian Eno – The Jezebel Spirit
Dr John – Gris-Gris Gumbo Ya Ya
Black Widow – Come To The Sabbat
Bauhaus – Bela Lugosi’s Dead
Cassandra Wilson – Hellhound On My Trail
John Martyn – I’d Rather Be The Devil
King Crimson – The Devil’s Triangle
The Clash – Straight To Hell
AC/DC – Highway To Hell
I’ve already got my ticket for this – it was only £13! – and I was thinking it would be really great if some of you others could come too! It’s a Thursday, so not very good for a social, but we could have a drink beforehand at least.
Darrell Scott is an American singer-songwriter in the Americana mould – you may know him from tfd afasarae You’ll Never Leave Harlan Alive. Danny Thompson is a bass player best known (to me) for his work with Richard Thompson (no relation) and the Pentangle; but he’s played with loads of other people as well, and he plays in many styles. Darrell and Danny made a live album a while ago, and here are a couple of tracks to show you the sort of thing.
Dear Webcore, to wish you a very Happy 60th Birthday, here’s a long short story written to a secret formula by a team of your fellow Recommenders. We hope you don’t mind making an exception to your non-fiction habit, seeing as it’s such a special occasion. The RR writers’ workshop takes strange delight in presenting:
A RUM DO…
V Valentino, propelled by a whirl of thoughts, turned and beckoned to his legs, urging them to please keep up. Two steady elements – his non-beckoning hand holding the flat bottle in his pocket, a little more firmly as he crossed the bridge with its view of the drop between the iron railings; and directions committed to memory as he turned right at the bridge end and the river’s murmur emerged from the receding traffic noise. The river reflected muscovado in the last drops of sunset and the early fizz of street lamps. There was a party of special things to do. Continue reading →
I was born in 1960. I knew the early Stones tunes from the radio mostly. Caught the Beatles on Ed Sullivan, even at 3 years old, i somehow knew this was an important thing to see. Amazing, actually. But never knew a peep about the Stones on there. First Stones album i bought was Hot Rocks, followed by More Hot Rocks which i figured had all the oldies i ever needed. Never saw any reason to get the older albums – they all had pretty much the same songs on them anyway! So there are still plenty of oldies i’ve never heard. Wanted to get a sampler of some of them on the list, but Shanes’ covers list made my job a lot easier – there would have been a lot of duplicates – and most of those songs probably aren’t new to folks on here anyway. Shane’s Empty Heart was newtome and great, i hear echoes of that one, and Heart of Stone and Time is on My Side in the snotnose garage bands i’m liking now. Under My Thumb and Play With Fire would have probably made my list – i think they foreshadow some of the darker tunes yet to come. Some other standouts for me – Ruby Tuesday, As Tears Go By, Lady Jane, Sitting on a Fence, Spider and the Fly, Not Fade Away, The Last Time, I’m Free – although biggies like Get Off of My Cloud (sorry, Fintan), Satisfaction, Have You Seen Your Mother, Baby, and Mothers’ Little Helper still don’t do much for me. Continue reading →
Never been to Texas. Dead honestly, i could probably die happy without ever going there. Nothing against it, i just don’t get on with hot weather and flat landscapes. But they sure can do some blues. Must be something in the water.
Stumbled on the Janis Joplin track on the tube of you. No idea where this version is from. But she sure doesn’t like her hometown (Port Arthur). There’s a version of Ego Rock on the In Concert Album, this one isn’t it. There’s a bootleg out with Johnny Winter (Beaumont) on guitar from a concert in Boston, this isn’t it. There’s another version with Johnny Winter on a compiliation called Blow All My Blues Away. This might be it. Johnny also joined her onstage at a concert at MSG a week after the Boston concert. Maybe this is it, and maybe the one on that compiliation album. That’s all the info i can find. But anyhoo, the tune is awesome.
It sure does warm my heart to hear some young whippersnapper college garage punkers that have done their Stones homework. They don’t have to fake the southern accents either. Here’s a little mini sampler.
An automated theft machine or (ATM), also known as a hole in the scruples in British English, is a computerised telecommunications device that provides the suckers banking with a financial institution with access to financial transactions in a public space without the need for a cashier, human clerk or bank teller having to face outraged disgruntled customers.
On most modern ATMs, the customer is identified by shafting a plastic get out of jail free card in their orifice. Authentication is provided by the customer giving their hard earned money to a millionaire via the bank, the government, and any old bonuses the managers wish to add.
The newest ATM’s operate without ethics or morales of any sort. Do nothing and a boss will automatically withdraw the cash.
Engineers in Britain developed their own cash machines during the early 1960s. The first of these that was put into use was by Barclays Bank on 27 June 1967. This machine was the first in the UK and was used by English comedy actor Reg Varney, at the time so as to ensure maximum publicity for the machines. Thus cementing the fact that Barclays should always be remembered as one huge Piss Taking JOKE.
I’m in this photo – those are my blue sleeves on the barrier
Talking of waiting…I’ve just realised that it’s now a week since I saw Tom Petty and the Heartbreakers in Cork…and I won’t see them again till Monday! Gee whiz, the waiting is the hardest part. So to cheer myself up I’ve made a playlist of the songs they did in Ireland. The setlists weren’t very different (and believe me, I have complained). So I’m sitting here listening to this, and it occurred to me that perhaps some of you might like to listen too. These aren’t the actual performances, mind, but they’re all live recordings (except one) of the songs I heard last week.
So just imagine, if you will, that it’s a week ago in the Marquee in Cork, TP&TH have just come on stage, I am standing beneath TP’s mic stand and my favourite band are playing just for me.
1 Listen To Her Heart
2 You Wreck Me
3 I Won’t Back Down
4 Here Comes My Girl
5 Handle With Care
6 Good Enough
7 Oh Well
8 I’m A Man
9 Something Big
10 King’s Highway
11 Free Fallin’
12 It’s Good To Be King
13 Something Good Coming
14 Learning To Fly
15 Yer So Bad
16 I Should Have Known It
18 Runnin’ Down A Dream
19 Mary Jane’s Last Dance
20 American Girl
And while I’m at it I thought I’d post this week’s Buried Treasure Show, which is specially good (apart from the Dave Clark Five, of whom TP is strangely fond). It’s no. 154. I won’t bother with the playlist, because you can find it on TP’s website – as he will tell you.
Yes, that’s right ‘Spillers, an all-new PODCAST! Long overdue, I know….but, better late than never, right? Well, don’t agree until you’ve listened to it !
It’s a very random and eclectic mix based on whatever was in my box of records at the time….and there were so many I didn’t get to that I wanted to include. They’ll have to wait until next time, I suppose.
Listen until the end for some exciting news ! Well, exciting for me, not perhaps for anyone else !
Well, folks, I was…with Regina Spektor. I thought the first song she did, with no accompaniment except her own tapping on the mic, was really excellent. And I also liked the second song with her band. But after that I just felt everything was far too samey. Perhaps I should’ve taken more time beforehand to become familiar with her stuff…but she’s not on the European leg of the tour so I’m going to forget about her for now and investigate Jonathan Wilson (who?) the new opening act.
So anyway. We were in the Frank Erwin Center in Austin, TX, which is a basketball arena. I’d been thinking that the venue would be quite small, because a basketball court is small, but this proved not to be the case. It was vast (and sold out). They must like their basketball a whole lot in Austin. Matt and I had whiled away the time before the show started having very expensive drinks in the VIP lounge and we had enjoyed ourselves so much talking to fellow TP&TH fans that we had neglected to go and look at the merchandise…but never mind, I’ll have 6 more opportunities to buy stuff and I now know which T shirt Matt would like for his birthday.
Where was I? Oh yes. Imagine that we’re no longer in the VIP lounge but in our third-row seats watching the techies set up for the band. There was an enclosure with gear in it on the floor on our side of the stage and we saw some celebrity kiddiwinks having a tea party there, and after that Benmont Tench came and wandered round a bit, and so did Ron Blair, and so did someone who might have been Mrs TP, only I wasn’t quite sure. And then the lights went down, and everybody stood up and started to make a noise, and then it looked like this:
A video about the lighting design for Tom Petty and the Heartbreakers’ current tour was posted on their website the other day and I got a bit worried, because there didn’t seem to be any video screens and I’m going to be quite far back for at least one of the concerts I’m going to.
Prompted by Zala’s call for extra special earworms, i figured it might be time to check out the new tunes on the Some Girls re-release. Had no expectations, as i was generally underwhelmed by the bonus tunes on the Exile re-release. Well blow me down, some of the tunes are fucking great. (And seem to lack the tinny sound of the Exile remasters too). Now i can maybe see why they didn’t include these on Some Girls – they didn’t fit with the disco / punk aesthetic the Stones seemed to be shooting for, and maybe they wanted to look forward musically instead of back. But guys, if it ain’t broke, no need to fix it. Lotta baby got tossed out with the bathwater there.
Keep Up Blues, Petrol Blues, and the (Ron Wood penned) When You’re Gone are wonderfully sleazy little blues numbers. Tallahassie Lassie is a Freddy “Boom Boom” Cannon cover which trumps the original, imho. And a pair of country covers to round off this little sampler – Hank Williams’ You Win Again, and Waylon Jennings’ We Had It All (sounds like Keith on vocals). Enjoy.
1. Keep Up Blues
2. Tallahassie Lassie
3. Petrol Blues
4. You Win Again
5. When You’re Gone
6. We Had It All
A quiz to keep you amused while we’re waiting for the new topic: and no, it’s nothing to do with insurance…that’s just the song. After the title there’s a series of 20 images each one representing a Tom Petty song. Your task is to identify all 20 of them! Some of them are very easy. Some of them are fiendishly hard. It’ll help if you’re a film/theatre/TV/radio buff; and oh yes – the answers are in alphabetical order, so that should help too. And googling is allowed.
While you’re puzzling over the images you will, of course, be able to enjoy the Tom Petty and the Heartbreakers version of Jimmy Reed’s Take Out Some Insurance. Well, I hope you enjoy it anyway – this is the only version I’ve got of them doing the song and I think it’s just plain marvellous.
(I’ve had an earlier version of this video – I made it easier, folks! – up on YouTube overnight and it’s still there, so I’m hoping this one is safe and won’t get taken down. Famous last words? Possibly.)
By now you will have muzzle-loaded every form of carbohydrate known to man within the space of 24 hours, some of you will have gorged on the charred carcase of poultry past, many of you will have fearlessly guzzled a combination of drinks that you would consider inappropriate on the most lost of weekends, and then to cap it all merrily furred your arteries up with the combined contents of a dairy farm and a sugar plantation.
So there you are, in a stupefied state, knowing only too well that there are only two things which can revive you: the riches of the Spill and the mundanity of tidying up the kitchen by way of tribute to your chef.
Lucky for you to have chosen to log on in this post-prandial fug, for I have something to help you through the dishes and hopefully most of the pots and pans. It is a sublime confection of music, wit, bonhomie and friendship. I posted a fragment of this session on the occasion of tfd’s retirement and had held off posting the rest as I knew it would be a necessary yuletide palliative.
Brendan Croker and Kevin Coyne recorded an album in 2002 – the story of their meeting and how the music came together is explained in their interview segment with Andy Kershaw. The whole thing is pleasantly bonkers, with the interviewer seemingly happy to try and compete with the ludicrous ramblings of his guests.
I used to listen to this every Friday at 5PM to remind me that there was something to life other than work, although I think you will find it works well while taking care of the clear up. I am on a farm for Xmas and while I myself will not be able to join you today, I will be enjoying every bloated gluttonous second of it and the washing up too!
Looking through my iTunes to find songs about Sara reminded me that Sara Jarosz is my discovery-of-the-season from Transatlantic Sessions. Season 5 that is.
As usual I’m enjoying TS very much. This season has Danny Thompson in the house band, though he’s the odd one out being neither Scottish, Irish nor American. Maybe he’s an honorary member of all those nationalities. All the music is terrific – this week’s one which I’ve just watched on iPlayer ends with Eric Bibb and Don’t Let Nobody Drag Your Spirit Down, a sentiment with which I heartly concur, featuring a blues mandolin solo by Sam Bush. It’s wonderful.
I know not of all of you are able to watch TR. Currently it’s on BBC2 Scotland on Fridays at 7.30 and then on the iPlayer; I expect it’ll be shown on ordinary BBC2 later on. There are videos from earlier seasons on YouTube – again, these may not be available to everyone. Please, if you can, do give it a watch even if you think you don’t like folk/country music. You never know…
Here’s Sara Jarosz not on TS singing her song Come Around.
The mothership has closed following tfd’s announcement of the sad demise of Bert Jansch. I, for one, would have appreciated the chance to say how sad it is to lose yet another great talent. I bought the record he made with John Renbourn, from which this track comes, when it first appeared. This, and their work with Pentangle, blew me away. I’m sure several of you have memories of Bert you’d like to share. Go ahead.
Ok, just to get the answer out of the way first – no. Gov’t Mule is not a contender for the best cover band ever. I’d put them in roughly the same category as the Dead (and they do tend to play together, amusingly covering a Metallica tune together, and Sugaree) as cover artists – jam band, excellent covers. But unlike the Ramones, Nirvana, etc – not really definitive or radical re-interpretations that give pause to the originals. (Chris – feel free to disagree and make your case.) Continue reading →
You know those lyrics sites where the lyrics are just plain, well…wrong? I’ve just discovered songmeanings.net which is a lot better than others I’ve tried. There’s a comments section underneath each lyric where people post what they think the song means, which is often amusing and rarely used for slagging people off – the site promotes being nice to each other and respecting other people’s opinions. You can add lyrics (or artists/bands) if they’re not already there and so far I’m having lots of fun and even been complimented once on a description. Give it a try and let me know what you think!
Also, last night I discovered
The Oxford American Southern Samplers which are compilations of music from the southern US – all kinds. There are seven of them and the blog site provides info, pictures and a track listing for each one. I only had time to download one last night, but I’m pleased to say I now have Ode To Billy Joe in my collection.
If you’re not used to downloading zipped files from blogs let me know and I’ll help.
You most certainly are, Shirley – congratulations!
Hi ‘Spillers: this is an auspicious occasion (I’m having quite a week in fact), as I celebrate my 20th A-lister on RR. I first got drawn in for Illness, in November 2007, made all the usual mistakes that newbies make, and got my first A-lister the following January. Now, I’m sure you don’t want to listen to all 20 in one go (if at all) so I’m going to do two lists of 10. Here’s the first.
1 I’m The Face by the High Numbers, alias the Who. ‘I Am’ songs, Jan 25 2008
2 Nottamun Town by Shirley Collins and Davey Graham. Surreal songs, June 13 2008
3 Remember (Walking In The Sand) by the Shangri-Las. Songs about memory, Oct 10 2008
4 Ghost In This House by Alison Krauss and Union Station. Songs about ghosts, Jan 30 2009
5 Lord Gregory by Shirley Collins. Songs about social class, March 27 2009
6 Marilyn Monroe by the Ian Campbell Folk Group. Songs about actors, April 17, 2009
7 Complainte Pour Ste Catherine by Kate and Anna McGarrigle. Songs in French, June 19 2009
8 The Cruel Mother by Shirley Collins. Cruel songs, July 24 2009
9 However Much I Booze by the Who. Songs about failure, August 7 2009
10 Barroom Girls by Gillian Welch. Songs about hangovers, January 8 2010
Ready for Part 2? OK then:
11 Killing Jar by Richard Thompson. Unsettling songs, January 22 2010
12 The Victory by Steeleye Span. Songs about historical figures, January 29 2010
13 Long Live Rock by the Who. Songs about concerts, May 27 2010
14 The Eyes Of Fate by the Incredible String Band. Songs about fate, September 24 2010
15 The Unquiet Grave by Shirley Collins. Songs about the afterlife, May 26 2011
16 Cherry Red Wine by Luther Allison. Songs about wine, June 9 2011
17 Blue Days, Black Nights by Buddy Holly. Debut songs, June 23 2011
18 The Dark-Eyed Sailor by June Tabor and the Oysterband. Songs about eavesdropping, July 14 2011
19 Barefootin’ by Robert Parker. Songs about dance styles, July 28 2011
20 So Sad (To Watch Good Love Go Bad) by the Everly Brothers. Songs about a change of mind, August 4 2011
I was very pleasantly surprised by the enthusiastic reaction to my recent blues post here, during which there was some discussion of a follow up with female blues singers. This weekend I started scanning my female blues vinyl for suitable cuts and I came across this album, I haven’t played it years, I’d forgotten that I had it but you can tell from the surface noise that it once got lots of play, I’ve had it for over 50 years. At the 1960 Monterey Jazz Festival Jon Hendrix put on a Sunday afternoon performance that was a history of blues music and it was directed towards a young audience, it was performed onstage as shown in the album cover, with Jon addressing a group of children who sat around him. So before we proceed with the female blues I thought this might be of interest, I’m sure it’s no longer in print so possibly most of you have never heard of it. On the album cover Jon wrote about how the piece came about, here’s what he wrote:
“It was Jimmy Lyon’s idea that we do something extended for a Sunday afternoon at Monterey and that it be about the blues. Ever since composer George Russell had kindly invited me to write some words and speak them on his “New York, New York” album I have been waiting for the opportunity to do something within that format just talking and letting the music speak for itself, following the advice of my mentor, Professor Milton Marx, of the English department, of the University of Toledo, Ohio: “Write about what you know.”
So I wrote about my people, about my great-grandmother who came from Guinea, Gold Coast, West Africa, about my father, Alexander Brooks Hendricks who ran away from the master who sold his father, mother and sister separately, came into West Virginia, married my mother, Willie “Sweet Will” Carrington, and moved to Ohio by covered wagon, where he became a minister, known as a circuit rider.
“Write about what you know.” So I wrote about the music they sang all through their lives, the spirituals, which they gave freely to America and the world. I didn’t stop there, because the spirituals didn’t stop there, but went outside the church to become the blues, and through horns to become jazz.
“Write about what you know.” So I wrote about the sun, the source of all light, heat and life in this universe, about all men on earth being the same man, all light the same light, all life the same life.
“Write about what you know.” So, buried deep in this story, yet never given word, is the heartfelt lament that some who play jazz have forgotten the spirituals that gave them their music, as they have forgotten the Lord who gave our ancestors the spirituals, have become corrupted by the surroundings to which jazz has been relegated, have become arch,, worldly, spiritualless, intellectual, demoralized, material, wealthy – and lost.
“Write about what you know.” I know that children are born into this earthly life with all knowledge, that the devil is an adult, that children are corrupted by adults too adult to realize that childhood is the kingdom of heaven, so I wrote my history for children, because they will understand. Above all, thank you children everywhere, and blessings on you all”
The album comprises both sides of a disc and runs about 44 mins. so I’ve added it in two parts.
A couple of weeks ago I asked in another post ‘Who in music had made the most important contributions to pop culture’, I was looking for personalities but Amylee suggested that it might not be a person but rather a musical form; the blues. I hadn’t considered that but when I thought about it I realized that it was a significant thought.
The blues, an American twentieth century contribution has played such a significant role in much of the world’s pop music especially since the introduction of international music distribution and radio/TV post WW2. So I started creating a playlist of blues artists from my vinyl collection but it wasn’t working, what I was creating was a list of only classic delta blues, basically fairly primitive voice/guitar songs. I know that’s how it all started and that those are the roots but my interest in the blues extends a long way beyond there and so I started re-shuffling the list and adding some examples of other styles. Suddenly it was getting out of hand and I saw that following Maki’s flamenco lead might be the answer, a multi part series that dealt with all aspects of the blues but I wasn’t sure if there was enough interest for that so I condensed it back to a reasonable size and included a selection of my favorites to create a fairly comprehensive list. One form that I didn’t include but that might be the subject for a separate post was female blues artists, another was instrumental blues, jazz is in large part based in the blues and there’s thousands of wonderful examples so that might be another, and a third is the commercial ‘pop’ style, Bing Crosby sings the blues etc, what I chose are all pretty close to the roots. Here’s just a bit of background on some of the artists and the tunes.
Joe Turner, Boss of the Kansas City blues, a distinct style unique to that city, heard here on Piney Brown with an all star backing group from 1956, I brought this album with me from England when I came to California and I got Joe to autograph it for me. Joe Turner’s the guy who introduced ‘Shake Rattle and Roll’ in the 50′s, a forerunner of rock ‘n roll. Big Bill, one of the all time greats, a pioneer of delta blues who also in the early 50′s spread the influence of the blues to Europe, I saw him several times in England and he was one of the most imposing men I’ve ever seen, a musical giant. Taj, a farmer as a young man with a talent for music, he quit farming and moved to southern California where he formed a group with a young friend, Ry Cooder, another great bluesman. Taj, perhaps more than anyone has kept the blues in the public eye since the 60′s. Basie; of all the popular big bands Basie’s was always the one most strongly blues based, he always had one or more blues singers in the band, Helen Humes, Jimmy Rushing, Joe Williams, Joe Turner et al. Google Wiki for the interesting story on Harvard Blues and check the delicate Lester Young solo on the into. John Lee, the Hook, One of the most recognizable sounds in the blues, the Hook is unique. The Hook abides! Lambert, Hendrix and Ross – [Dave, Jon and Annie] An imaginative vocal trio that in this case took the arrangement and the instrumental solos from a Basie classic, Going to Chicago and wrote and sang lyrics to it; the entire album ‘Sing along with Basie’ is in this format.
As an afterthought I thought it would be fun to include the Basie original of Goin’ to Chicago with Jimmy Rushing doing the vocal for comparison purposes, it’s the classic Basie band from April 1941. Duke Ellington often strongly blues influenced but rarely full on vocal blues, here it’s with Al Hibbler from 1949. T Bone, A Texas blues pioneer who influenced BB King’s and Chuck Berry’s guitar styles. Mose Allison, Mose started playing blues piano and singing the blues while he was still in school in Tippo Mississippi in the ’30′s, this is from his debut album ‘Back Country Suite’ from 1957. Jimmy Witherspoon: AKA ‘Spoon’, A guy who always performed with a jazz backing, often with the big names of jazz, here he’s accompanied by Gerry Mulligan and Ben Webster from 1959 and it doesn’t get much better than that. Muddy Waters, this one’s from very early in his career, 1948, he already had that strong guitar style. Keb Mo, another contemporary artist, he started out playing with Papa John Creach in the Jefferson Airplane days but went on to a solo career, a strong Robert Johnson style player. Memphis Slim, A blues pianist who early in his career, 1940, wrote a song that went on to be recorded by all the great blues singers, ‘Everyday I have the Blues’, it’s on this playlist by Joe Turner. John Hammond, his father was John Hammond Snr. the well known producer at Columbia who signed Billie Holiday, Basie, Aretha, Springsteen and Dylan to that label. He was raised by his mother and began playing blues guitar in the 60′s as a part of the folk revival in NY, he’s still going strong.
And we finish with another Taj song from the same album, Sweet home Chicago, this time with backup singers the Pointer Sisters. Jimi‘s a bonus track, what’s there to say about Jimi except this is the track that drew me to him way back then.
In the edit there were many names deleted who should still be here: Buddy Guy, BB King, Jimmy Reed, Albert King, Albert Collins, Little Walter, Chuck Berry, Howlin’ Wolf, Lowell Fulson, Robert Johnson, Josh White, John Mayall and more, they were in the initial list but I felt it was too Delta/Urban and needed to be broadened.
Please feel free to add to the comments via the magic of youtube any favorites that you have. Enjoy.
From the top the photos are: BB King, Buddy Guy, Robert Cray, Albert King, John Hammond and Taj Mahal, Willy Dixon and BB King.
The cuts in order are:
1. Taj Mahal – Corina
2. Joe Turner – Piney Brown Blues
3. Muddy Waters – I’m Ready .
4. Allman Bros – Statesboro Blues.
5. Big Bill Broonzy – In the Evening
6. Basie/Rushing – Harvard Blues
7. Elmore James – Dust my Broom
8. John Lee Hooker – I’m in the mood
9. Lambert, Hendrix and Ross- Goin’ to Chicago
9a. Jimmy Rushing – Goin’ to Chicago.
10. Sonny Boy Williamson – Frogs for Snakes
11. Basie/Turner – Everyday I have the blues
12. Duke Ellington – Good Woman Blues
13. Bo Diddley – I’m a man
14. Jimmy Rushing – Good Morning Blues
15. T Bone Walker – So Low Down
16. Basie/Williams – Key to the Hwy.
17. Mose Allison – Blues
18. Jimmy Witherspoon – Every Day
19. Muddy Waters -Rolling and Tumbling
20. Keb Mo -Perpetual Blues Machine .
21. Little Walter – Key to the Highway
22. Memphis Slim – Havin’ Fun
23. Joe Turner – Stormy Monday
24. John Hammond – Two trains running
25. Taj Mahal – Sweet home Chicago
26. Jimi Hendrix – Red House.
On March 14 I got an email from TP’s fan club saying that the radio station that hosts his programme was holding a competition to celebrate the 6th year of the show – we had to suggest a question for TP, to do with music/the radio programme/whatever, and 21 people would be chosen to go to LA and ask him the questions at a special event hosted by the station. Well, I got very excited because I thought that was a competition I might very well win, and I spent a whole week pondering what kind of question would be likely to be picked, and thinking of a question and refining the question…and it wasn’t till a week later that the entry form went up and I found out only people in the US or Canada would be eligible.
So I was well miffed, and on listening to the programme (an ordinary one not the special competition one) later that week I decided I would email TP and tell him so. And while I was at it I submitted a request, since he said he was wanting people to do that, and the request was for a Freddie King instrumental called Pulpwood – I know TP likes Freddie, and as his grandfather’s nickname was Pulpwood (TP’s not Freddie’s) I thought he might well play it so he could talk about his grandfather; well, he didn’t mention his grandfather but as it happened the Heartbreakers drummer Steve Ferrone was on the track – which I didn’t even know! – so he talked about that instead. DJs always want something to say, you know.
Here’s what he said, then – oh and by the way, in general I don’t like to be referred to as ‘a nice lady’. But if TP wants to call me that, it’s OK.