Le Show; 2022-11-27

From deep inside your audio device of choice. Ladies and gentlemen, this is a special edition of La Show, a couple of weeks ago, just before I left New Orleans, it was a Thursday, just a Thursday night, and I walked around the neighborhood and was able to see live performances by three of my favorite piano players in New Orleans. Just one, two, right, just lined up for me, as if at a festival, except it was just an ordinary Thursday night. Well, I'm going to try to recreate a bit of that experience for you today, live performances by a couple of my favorite New Orleans piano players, as well as some conversation from previous broadcasts. And first up is the great John Cleary. Thank you for having me. You don't talk like a New Orleansian. This suggests you come from somewhere else. Either that or I practice in English as a day. You sit and watch masterpiece theater when you should be woodshedding. No, I'm from London, originally, but I moved here as a teenager 30 years ago, which is

mind-boggling when I say it doesn't seem like 30 years, but I came here in 1980, just in time to catch the kind of the last of all the great R&B guys that were still on good form. You saw a professor long hair? No. No. Unfortunately, I got here just too late for for Fess. That was a real shame. But I got to see James Booker, who played in my local bar every Tuesday night. And Roosevelt Sykes would hang out in the bar and play in the day. The Honey Drepper. The Honey Drepper. I arrived, Erking was playing. So I got to see these guys who, for me, were just names on the back of very hard to find records. And I was very lucky. I ended up actually getting to becoming friends with a bunch of them and they would call me and ask me to come play. So I got to being in awe of them and from a great distance all the way over in Europe. And then the next minute, I'm in New Orleans and I'm actually getting hired to do gigs

with them. And this suggests that you didn't experience any of the urine outside or you don't belong here, get out of here, that people might think would happen? No. A lot of people asked me about that. And the best musicians, the guys that were really good at it didn't care. Well, the people here are very welcoming from the outside. On the condition, as you can play, I mean, if you can play, that's the only prerequisite. You know, so everything else doesn't really matter. So you must have been in some kind of hog heaven as this all came down? Well, I was. And I think I've probably got a lot of the gigs by default, really, because it was amazing to me that the time I arrived there, it seemed to be very few people who were actually playing what I understood to be New Orleans piano. The greatest, one of all, James Booker was working regularly, but he was ignored pretty much. You know, he played at my local bar, if you choose the night. The May Belief? The May Belief, yeah. And the place would often be empty.

Well, you hear those recordings of him at the May Belief, and then you hear? Yeah, I was there on those nights when they recorded every week, because I was there all the time. I had a job painting the bar, and often I would come in, actually, that's all I got my first piano gig, because I was a guitar player, I played guitar as a kid, and that was my main instrument. When I arrived in New Orleans, I got a job painting the bar. And on Tuesday, the deal was we worked whatever hours we wanted, this was the job offer. You can work whatever hours you want, you get free drink while you work. So stretch it out. Yeah, half price drink any other time, you get to see all the bands for free, it was great now, 17 years old in heaven. But we start work very late, very hungover, and we're getting through a long after dark, we're paint outside on the ladders painting in the dark, two crazy 17 year olds. And as Booker was getting ready to start playing, I would usually be scrubbing, trying to get all the green paint off myself and cleaning brushes and stuff.

And on those occasions where he didn't show up or show up late, they would ask me to play just to keep those few customers who actually paid money to come and see him, to keep them in the bar. So they'd buy some drinks? Yeah, so they'd get me to play, and I'd play whatever songs I knew until Booker showed up, so I started doing piano gigs. Wow. But he was the main guy, really, Dr. John was one of my legends, one of my heroes, he didn't live in New Orleans at that time, so it was unusual to see him. And there were other guys who were around, but I mean, I really came here thinking there was a town full of piano players, you know, New Orleans has that reputation. So when I did get to play with guys like, oh, King and Kato and Jesse Hill and Snucks and people like that, I think I got asked back because I actually knew a lot of the material because I've got enough listening to that stuff. This had been what you'd been listening to, back in England. Yeah. And an uncle used to live in New Orleans and he had mountains of 45s, but then every night up at his house was an education, they'd start with a Clifton Chanel 45, and then in

the process of trying to find a particular song, he'd un-earth all these other dusty old 45s, and it would be Clarence Henry and Jiving Jean and the Joker's Professor Long here, Hugh E. Smith, and it was great, yeah, so I got a thorough grounding in New Orleans R&B. And then would you go home and try to play with you just heard or... Yeah. Yeah, I remember trying to play big chief, big chief, it took me two hands, I was playing in the wrong key, we'd like... And now it's, you know, and then that riff, a lot of this stuff would take two hands, this riff. That's the classic New Orleans turn around, yeah. So yeah, I started doing messing with that stuff when I was about 11 or 12. And then when you came here, did anybody say, young fella, here's how you do that, or

you just picked that up as you went along? I just picked it up, there's no laws, there's no rules, and really, and all the, you know, through the history of New Orleans, the guys that made a difference of the ones that threw the rule books out the window, I mean, that riff I'm just playing with that Professor Long, I think. There was nothing like that before he did it, I mean, he's, he's from New Orleans, there's no doubt that what he plays is from New Orleans. But that didn't really have any precedent, and I think, you know, when you look at the great moments of New Orleans musical history, there's Jelly Roll Mort right up to the meters. They play the way they play by virtue of being here from New Orleans, but it's not a matter of adhering to an academic set of rules, this is how you do it. It's how you feel it. Yes, how you feel it, yeah. And you kind of, I think to play New Orleans music, right, you have to come and live in New Orleans, that's the difference. And you soak it up as a process of osmosis, you just breathe, you go to your second line at funerals, you go jumping in, in step at a mardi gras parade, and it just gradually soaks in.

That's a high price to pay, and to be able to play this music, to have to live in. Yes, tough, tough, tough, tough work. Why don't you show us what you've soaked up for a moment here? I'll play in my favourite thing, one that I play on it all the gigs, and it's a professor long here. Tune, and I heard the Fest version, and I heard a solo version that Dr. John did of it when I was a kid first checking the stuff out, and there was one particular riff that just took my breath away, which is, and I'll show you where it comes in. There's Tippetina, and Tippetina was a tune that was a hit for Fest, and it was one of a long line of tunes that used the same basic chord changes, the fundamental root of which way back in the day, they used to call the junkers blues, and they used the same chord progression with various sets of lyrics and various arrangements, but always fundamentally the same basic one for five changes, and at one point it was called Tina, and now at one point they used it for Lordy Miss Chlori, for Staggily, for Fat Man, Champion Jack, to pre-way back with junkers

blues and even way before that, but it was a very basic fundamental blues, I think, early on anybody could pretty much play it. I guess in the early version, early incarnation would have been pretty basic stuff, and then when Fest got hold of it, it turned into more. Although actually this isn't really true to the Professor Long, I think, this is more like what Dr. John did with it. I like to make it even funky, I guess. I feel good.

No, think a patient there

think a patient is the root of all that stuff. You got break music down into into the rhythm and the harmony and New Orleans is part of that word that includes Cuba Haiti Where the way you break up four beats of the bar is turned into advanced math matters You know and and in New Orleans They're way they approach Harmony and of the core progressions and melody. That's very important to so that's a marriage of those two things So you have to get those ingredients right No, Ken. It doesn't have to be sophisticated necessarily. You can have the grittiest funky as lowest common denominator But a lot of the great musicians in New Orleans can do that and then at the drop of that if it's necessary It can suddenly blossom into this gorgeous Extravagant Delica Baroque structure. Yeah, yeah, beautiful Yeah, it's sophisticated

Where the hell's the one where the hell's the root? Leaving the audience if they're drunk enough in the dust of Yeah, and then and then you surprise them by saying here it is. It was here all along Yeah, I think a lot of people first got to know you around the country When you opened for Bonnie right and toured with Bonnie right for a good few years was that three four years? I was playing with Bonnie for 10 years. Good Lord. I know. I know flew by really quickly Yeah, well before that I was playing with Taj Mahal I mean, I'd played in New Orleans for years and little clubs in New Orleans and you can make a living in New Orleans playing without going anywhere else and You can a lot of people quite happy doing that a lot of people don't want to tour necessarily and you can make like I have a lifelong career here I know whatever he is of the outside of Orleans parish But I got a job playing piano for Taj Mahal who is one of my idols He lives out in California And so that was my first experience really of touring outside of New Orleans That lasted for a few years and from that

I got acquainted with Bonnie and then Bonnie asked me to come and play with her. So It was very interesting, you know, it's um And such a well fundamentally the music that doesn't there's no different what I do as a piano player is not very different really and that was I think why she hired me because she she liked that style obviously but the You know the level of professionalism and the actual business side of it was was quite eye-opening Be it coming from down here Coming from New Orleans just the fact there was a business Business side of it. Yeah. What do you mean? Yeah So that was really good good experience. Yeah And she she uh allowed you to open for her so the audience didn't see you just as a side man, right? They saw you as always very generous in letting me take solos and join her on the vocals and she would perform songs that I'd written And then I get to stretch out and play some mandolin and guitar and some percussion and do some other bits and pieces to you So yeah, she was great. How long have you been writing songs?

I've been writing songs um For as long as I've been playing really I guess yeah sort of making things up and you know when you Doing the playing the kind of music I play you write every time you sit down and play There are some Aspects of music and some musicians who will perform set pieces where Essentially note for note is identical from one night to the next that doesn't really work that way Down here um and so you compose and you improvise so it's all spontaneous so every time you play your composing really All righty Uh some would say that's a lot of pressure For me there'd be much more pressure to try and do the same thing twice Mm-hmm You know, I did not wasn't a classically trained musician. I was taught by family members of musicians So I learned to play by ear by trial and error by listening to records by sneaking out and seeing bands whenever I was able to and when did you first start singing? I've always sung as long as I can remember

When when I was a little kid my Parents would have parties and there'd be musicians play and I would go and sneak you know long past my bedtime and I would be I'd get up and go and stand by the door and listen and find out soon related I was there and it was allowed to stay up on the condition that I was saying And Jesse James was the song nice So I'd seen Jesse James. They'd let me stay up. Oh, listen to the music. So I've been singing since I was about five. Yeah Um, could I ask you to do a a song with a vocal part in it? Sure Let me play I'm gonna play this song that I used to play with snooks eating Just because it's the first night pops into my And this is a Benny King June from back in the day every time I kiss somebody new Maybe believe I'm kissing you I can't get my hick and heart Now know we're still apart baby

Oh I can't lose these young boy blues You make me cry when I hear you make You make me cry when I feel so shamed and I I can't get my hick and heart Now know we're still apart baby now each night is like a thousand year Oh, oh, oh, oh, oh, oh, oh I can't lose these young boy blues I Don't know where to go No, no, what to do now baby Well, I'm so lost in worry

Since you went away Every time I kiss somebody new you make believe I'm kissing you and I I can't get my hick and heart No, it's still apart baby each night feel like a thousand year Oh, oh, oh, oh, oh I can't lose these young boy blues It's night feel like a thousand years old I can't lose these young boys, no, no, baby John Cleary and we'll have more with John But Henry Butler is another one of my favorite New Orleans piano players currently

Residing in Brooklyn, New York, but a few years back We had an interview conversation live session in New Orleans And here's a bit of that now, here's Henry One of the things that appears on the new record is a piece entitled Bourbon Street Blues It's actually in the stride style and we'll play that one Great, Henry Butler, thank you You're welcome, Henry Butler, thank you

You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you

You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you You're welcome, Henry Butler, thank you Henry Butler, thank you

You're welcome, Henry Butler, thank you How did you come to do this for a living? You mean play piano for a living?

Yeah, how did you get that? Well, it started at a state school for the blind in Baton Rouge, Louisiana Where I was a student from the first grade through my last year of high school I was volunteered as a musician by a lady by the name of JS Catley And she was too big for me to argue with You were volunteered for it That's right, you know, in the army sense of the world Exactly And so, actually it took quite a while for me to really take to that Because, of course, back in those days, you were considered something other than normal If you took piano lessons Do I read your meaning correctly? And unfortunately, those days did put those labels on you Especially kids, little boys And little boys can be quite cruel to each other

No kidding That's always been something that amazed me In this country, there's this myth of childhood innocence And you just wondered, didn't these people pay attention when they were children? Yeah, they met up, that felt very funny But, you know, I really started to show some potential All that sort of disappeared I remember the first arrangement that I did was for two trombones in piano And all the kids said, wow, man, that was great They wanted to start taking piano lessons They wanted all the glory, but they didn't want to do the work I know the feeling I took piano lessons, but I didn't want to do the work That's why I'm sitting here and you're sitting there Well, actually, you've done a lot of good stuff Thank, I wasn't fishing for that I had a teacher who couldn't accept the fact that I thought an hour a day was as much as anyone needed to practice And she was right, and I was wrong

I tell you what, I started out doing an hour a day and the next thing I knew was like five and six and seven That was pretty tough How old were you when you did your first gig as a piano player? I was, I tell you, I was 14 when I started accepting money I guess at that point I became a professional So, yeah, I was 14, I was in the ninth grade And we had, we had in that group four, four or five horns, I think And an occasional bass player And that's where I learned how to use my left hand When you didn't show up, you mean? No, that's right Well, many times we didn't have, we didn't have one to show up So, that was one of two people that we knew we could use from time to time but they were always busy because they were pretty good And so I learned to use my left hand and I just basically pounded it out at that time

And right now my left hand serves me fairly well Exceeding me well Thank you Among other things you do stuff in Unison with two hands that is trickier and more complex and most people can pull off with one Well, I teach my students that they should not do anything in their right hand that the left hand can't do And I kind of follow that for myself as well Whether I'm playing as a side man or backing up someone or whether I'm doing it as a soloist I think it's very important to be able to use the whole piano and not only to play parallel octaves in both hands But to be able to do things in contrary emotion That means going in different directions at the same time

Play for us if you would, something else from your album or from another album? Certainly, I'd like to do this next piece It actually has become one of my signature tunes It's a piece that I did when I was on Wyndham Hill And it's the title track of that record It's entitled Orleans Inspiration And it's a piece that I did when I was on Wyndham Hill

And it's a piece that I did when I was on Wyndham Hill What is it about New Orleans that keeps piano music alive where piano traditions don't

seem to be flourishing elsewhere in the country? I think it's the rhythm. I think it's the rhythm and I also think that there's more than just piano music that's alive here. You have sort of a revival of the brass bands and these guys are the street from the street and it's great. You know, you have the street rhythms and they're really drawing whether they know it or not from sort of the rhythms of the Plastukango festivals and they're also drawing from the traditional jazz repertoire and the gospel repertoire, basically the same kind of things that the brass bands are back around the turn of the century.

The same devices, the same tools that they used, they're just updated today. They're using in many cases popular music of the day with the same traditional jazz rhythms with the traditional jazz rhythms integrated with funk sometimes and they've found a way to blend them very well. I mean, they've done it very well. It's just amazing that I've said this before but the guitar has taken over everywhere else except here where there's still room for horns and piano and all sorts of other things. New Orleans has its own subculture and in most cases when a city has its own subculture, it's hard for other things to get in. It's just like the cuisine here, it's like the food cuisine. Most of the restaurants in New Orleans serves some kind of Creole or Cajun cuisine.

It's modified in this way or that way. But it doesn't matter what, even when you go to some of the Japanese restaurants. Creole? Creole Japanese? Yeah, it's amazing. Obviously they don't say that but it's probably a little more spicy than some of the Japanese restaurants that you might find in Houston or even Los Angeles. And it's hard for other ethnic restaurants to get in here. I mean, there are a few Vietnamese places, a few Thai, Chinese, that kind of thing. Same thing is happening with music. You get a lot of straight ahead jazz and because there are a lot of straight ahead jazz musicians in New Orleans. But they're not that many straight ahead jazz outlets for playing that music here.

And unfortunately, New Orleans misses, well, a lot of the shows say put on by straight ahead musicians don't come into New Orleans except during the time of the say the jazz festival. And occasionally the House of Blues may bring somebody in. But by large, and mostly you get street music with the New Orleans influence, New Orleans funk and blues with New Orleans influence. It's a pretty good diet though. Oh, look, you know, I'm not complaining. And of course, I have the good fortune of living in cities where jazz flourished. So I may not need it as much as some of the other people here might, I mean, plus I can practice.

Right. Do one more for us, I think, certainly. This piece is entitled, got my eyes on you. You've got dimples in your jaw, you've got dimples in your jaw, you've got dimmer your jaw, keeping mine at my eyes on you, got a great big smile, you've got a great big smile. You've got a great big smile, baby, you've got my eyes on you, got my eyes on you,

got my eyes on you, baby, you've got my jaw, you've got my eyes on you. You've got a lot of jaw, you've got a lot of jaw, you've got a lot of jaw, you've got a lot of jaw, you've got my eye on you, got my eyes on you, got my eyes on you,

got my eyes on you, got my eyes on you, got my eyes on you, baby, you've got my eyes on you, got my eyes on you, got my eyes on you, got my eyes on you, got my eyes on you, got my eyes on you, baby, you're my, got my eyes on you. Henry Butler from New Orleans.

This is Lesho, our guest is John Cleary, and I have to ask you a rude question. I'm used to because of family and other, and just following, you know, from Tom Jones onward, the fact that Welsh people can sing soulfully and occasionally, Scott, how does it normally you don't connect the words English and soulful? Where am I wrong? Well, my family's all Irish, but back in the day. Maybe that's the Celtic thing, of course. But, you know, that whole soulful thing, it doesn't matter where you're from, really. You know, you can find soulful music anywhere you go if you look hard enough for it. And that was lucky, because I grew up in a family of soulful musicians.

Now, you, I know from talking to you and hanging with you that you're a total Johnny guitar Watson maniac, but was that something that you were into at the time, or who was the reigning funk kings of England when you were there, or were there such a thing? Well, I left England when I was a hot chocolate, I mean, you know, I was too young, really, for the kind of, to be into the soul thing when it was happening, 1973 was when a lot of great soul records were made, and I was 11 years old. So the stuff that my peers were listening to was whatever was on top of the pops that week, which was usually Gary Glitter's glam rock. You know, and then the sex pistols came along, and that was pretty mind-blowing. But when you go to the gigs, I could go and see as a kid with punk rock gigs, you know, all the punk bands. But at that time in England, every time you, when you went to a punk gig, there was always a reggae band on the bill, there would be a punk band and a reggae band.

So I got to see all these great Jamaican bands. So that was our kind of soul music in England, if you like, the stuff that we had access to was Jamaican music. Well, that's not bad. Yeah, so I got to, man, in the late 70s, got to see great, you know, mighty diamonds, concert gladiators, steel, puls, azure, the tunbi, all the English reggae stuff in Dennis Vell. So that was kind of the soul stuff, and then, you know, as I listened to New Orleans R&B, and that really was the stuff that got me. I loved just that, or, you know, that was the stuff that really pressed all my buttons. And then after moving here and learning a little bit more and getting to play with guys like Walter Washington and Johnny Adams, I'm playing in a lot of the little black bars in New Orleans, and hearing, and just, you know, being a funk detective and checking out

the jukeboxes and all of a sudden it's like, wow, Johnny Taylor, little Milton, Tyrone Davis, that, then, you know, that stuff really had that was the stuff that really got me there. Tyrone, can I change my mind, Davis? Yeah. Yeah. Yeah. So that, then, really, that got me pretty hard, you know, the real, good, uh, Southern Soul music. So then you form a band at one point, and, uh, I, I've been aware of you as a player and as a performer, but, um, when, when this band broke on the New Orleans scene, I think it, it, it knocked a lot of people for, uh, a major loop. It was the, the funkiest stuff that I'd heard since, you know, since the original meters had fled the scene, um, how'd you put that band together? How'd you come up with the name and, and, and it's all, it was also, New Orleans is a great music town.

It's not always a great record-making town. That was that, that John Cleary in the absolute monster gentleman record is a great sounding record. It's a real record. Yeah. Well, I, um, the first time I put a band together in New Orleans was after having lived here for a couple of years. I lived here for two years and just looked and learnt and, and listened a lot. And then I went back to England, I had to leave and go back. And that was when I first got my experience at hiring musicians, hustling gigs, plugging in PA system, getting paid at the end of the night. The glamour stuff? Yeah. And all that. So, yeah, not some bolts of, of the trade really just being a working musician. So, I felt having done that when I got, when I then came back to New Orleans that I was then, um, equips to, to kind of do it and do it right. Prior to that, I didn't, I spent most of my time just listening, soaking it up and shedding.

I had a piano in the house. I moved to that play for hours every day. And then the first band I put together, you know, it was quite cheeky. And then we'd call the best players in town. So, the very first band I put together in New Orleans, a George Porter on bass, Walter Washington on guitar, Kenneth Blavins on drums, they made great, and I would always hire the baddest musicians, because that's, you know, that's what you do if you're going to, if you're going to want to, if you want to sound good, surround yourself with the best cats. So, I got to play with guys from, you know, the meters from George Porter and then, fat dominoes with them section, I hire them for little, and these are just little gigs. And, you know, as I say, it was a bit cheeky of me, but I realized, and then they were musicians, they all need gigs. They're happy, and if you couldn't, you know, the first gig, if they did get, then they don't mind you calling them back and they always dug it, because I was playing the old stuff that they grew up with. So, I was hiring guys that were sort of 20 or 30 years older than me, but I was calling out songs that they recognized from when they were teenagers, because that's kind of what I grew up listening to. And so, I got spoiled, you know, all these great musicians. But I found that as much as I loved doing the old obscure New Orleans standards and little really John tunes, these songs that I could call without having to have rehearsals knowing

that these guys would know him and be able to jump in and fall straight in, at the same time I was writing songs and I wasn't able to play them because I needed to have guys that would learn these songs. They'd never heard those before. So, it was a different kettle of fish altogether. So, around that time, I put together a band with some musicians that I'd become friends with, who were in a gospel band called The Friendly Travelers. And I sort of broke with the tradition, and for Jazz Fest one year, instead of using the old cats, the session players, I used these guys who, whose experience was really playing coffee bars and playing in church, not playing festivals and nightclubs and more. But they were great players and nice guys and they were, and were agreeable to getting together and working, rehearsing and learning the stuff. So, that's the band I put together. And we needed a name for the band and around that time, Johnny Guitar Watson came out of retirement and came to perform in New Orleans.

And it's hard to come up with a good name for a band and all you ask all your friends for ideas and everyone comes up with stupid ideas or double on top, you know, it seems degenerates into the silliest name anyone could think of. But Johnny Watson introduced one of the musicians on the band as an absolute monster gentleman and I thought, ah, that's it, that's the name, the absolute monster gentleman. So it came from Johnny Guitar Watson? Johnny Guitar Watson, yeah, he deserves the credit. So that was the band, John Clearing the Absolute Monster Gentleman. And that band was together for, I mean, broke up the... Well, for about ten years and it's not really broken up, we'll still be doing gigs here and there, but the challenges to try and have as broad a musical diet as possible, you know, and so it's fun to have the luxury here of playing with as many great musicians as you can. And so recently I've been doing trio gigs with just a different timbre, a different texture of music.

So it's more acoustic piano with upright bass, as opposed to the monster gents thing which is kind of electric R&B and funk. And you've also been doing solo gigs to my great delight as well. I've been doing some solo gigs, I used to do a lot of solo gigs back in the day, but I'm kind of digging it now, yeah. It's, you know, I, about a no one in my admiration for that band, but, you know, I'll always come here, you play solo, could you, could you do something else for us right now? Sure, sure. I play, I know I do, I play your blues, this is Port Street Blues, I used to live on Port Street and there's funky old falling down half, about a hundred yards from the Mississippi River in the old part of town of New Orleans. And this one, I had to, I lived there for about 15 years in this beautiful old place when it was great. And so when I'd be away on title, I always get homesick for New Orleans and this one, this is all about missing New Orleans, it's called Port Street Blues. Can't go back with a side check, a quilt shot done little y'all out back, cool breezing,

blowing through my banana trees y'all in, rusty freaks, you driftin' in from a ocean far away, cast no challenge on my back porch, at the sad time of day, I'm just trying to tell y'all about a feeling I can't lose, I'm a long way from home, yeah, and I got the Port Street Blues.

There's a beat up in there that chatt-chows out of tune, and in the corner there's a messed up jukebox, thick up on the room. You can't sit down for stacks and stacks of stretched up four to five in the cobwebs hang from the ceiling fan, blow the smoke back in your eyes, but the door is always open. If you somewhere close by around in the wall, I'm always shaking to a sweet, so full of sound, I'm just trying to tell y'all about a feeling I can't lose, I'm a long way from home, oh no, no, I got the Port Street Blues.

There's a beat up in there that chatt-chows out of tune, and in the corner there's a messed up jukebox, thick up four to five in the cobwebs hang from the ceiling fan, blow the smoke back in your eyes, but the door is always open.

There's a beat up in there that chatt-chows out of tune, and in the corner there's a messed up jukebox, thick up four to five in the cobwebs hang from the ceiling fan, blow the smoke back in the cobwebs hang from the ceiling fan, blow the smoke back in your eyes, oh no, I can't rest my worry hard, I can't rest my worry hard, yeah, pass it by my mind, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh,

ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, you buttoned yourself, thank you so much for sharing your time and your talent with us. Thank you for having me, it's great, it's great to be able to do this. Thank you so much for having me, it's great to be able to do this, it's great to be able to do this. Thank you so much for sharing your time and your talent with us.

Ladies and gentlemen, this week's Lesho was from the Lesho Archive, sadly Henry Butler passed away four years ago, but happily, John Cleary is still with us and frequently touring around the United States and Europe, that's going to conclude this week's edition of Lesho, the program in turn next, we get the same time, over these same radio stations, and for those of you using your own audio devices, whenever you want, and it would be just like a former US president not having a public dinner with a white nationalist, if you'd have enjoyed it with me then, would you?

Thank you very much, John. A tip of the Lesho Chappos to the San Diego desk, to John Fishback for engineering, the interviews and performances to Pam Hallstead, all for their help with the day's program. The email address for this program, your chance to get cars I talk to you shirts before you forget, they make great puzzling Christmas gifts, and the playlist of the music heard on this program,

all harryshear.com. And am I still on Twitter at the harryshear? Only would we find out for sure. Lesho comes to you from the Century of Progress Productions and originates through the facilities of WWW, N.O. New Orleans, flagship station of the Changes Easy Radio Network, along from the Crescent City.