Podcasts about Act Naturally

Listeners of The Wolf know that despite the fact that The Wolf lived mere yards (or meters) from Abbey Road, he and Action Jackson aren't huge Beatles fans. While he did go through a Beatles stage in high school, it was really an education on how the band evolved and created some amazing music which is still enjoyed and studied today. However, thanks to a run of 60s rock related movies that ran on Cinemax one night in the 80s, The Wolf became very familiar with Help! as he recorded the movie on VHS and watched it over and over. It was in technicolor, unlike A Hard Day's Night, and showed the boys having fun in exotic locales like Switzerland, The Bahamas, Stonehenge and Buckingham Palace. The seven tunes on the album that were included in the movie all hold up well and are fun to sing along with while you're watching. But the album is the first step moving from being bubble gum pop stars into more respected recording artists. We review the UK version of the album as the US version is shorter with orchestrated score tunes from the movie. The whole first side of the UK album features beloved songs from the movie like the title track, Ticket To Ride, You've Got To Hide Your Love Away and The Night Before. But the second side also features some Beatles classics like Ringo singing Act Naturally, I've Just Seen A Face and the all-time classic Yesterday. It's amazing that the boys were all so young (21-24) and were maturing before our eyes as they were now able to write more robust tunes with more mature themes. Bob Dylan had introduced them to marijuana by now and they'd done their first LSD trips which would show up more on an album from later in 1965, Rubber Soul (and after). But this one has one foot in the old, teenage dream Beatles phase and one in the more mature and experimental Beatles. We can't believe it's turning 60 but we went track x track to celebrate. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Listeners of The Wolf know that despite the fact that The Wolf lived mere yards (or meters) from Abbey Road, he and Action Jackson aren't huge Beatles fans. While he did go through a Beatles stage in high school, it was really an education on how the band evolved and created some amazing music which is still enjoyed and studied today. However, thanks to a run of 60s rock related movies that ran on Cinemax one night in the 80s, The Wolf became very familiar with Help! as he recorded the movie on VHS and watched it over and over. It was in technicolor, unlike A Hard Day's Night, and showed the boys having fun in exotic locales like Switzerland, The Bahamas, Stonehenge and Buckingham Palace. The seven tunes on the album that were included in the movie all hold up well and are fun to sing along with while you're watching. But the album is the first step moving from being bubble gum pop stars into more respected recording artists. We review the UK version of the album as the US version is shorter with orchestrated score tunes from the movie. The whole first side of the UK album features beloved songs from the movie like the title track, Ticket To Ride, You've Got To Hide Your Love Away and The Night Before. But the second side also features some Beatles classics like Ringo singing Act Naturally, I've Just Seen A Face and the all-time classic Yesterday. It's amazing that the boys were all so young (21-24) and were maturing before our eyes as they were now able to write more robust tunes with more mature themes. Bob Dylan had introduced them to marijuana by now and they'd done their first LSD trips which would show up more on an album from later in 1965, Rubber Soul (and after). But this one has one foot in the old, teenage dream Beatles phase and one in the more mature and experimental Beatles. We can't believe it's turning 60 but we went track x track to celebrate. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Ryan Wedding, a former Olympic snowboarder, has been added to the FBI's 10 Most Wanted Fugitives list. He's accused of running a drug trafficking network and orchestrating multiple murders. A $10 million reward is being offered for his capture. New evidence is being revealed in the case against Bryan Kohberger, the man accused of killing four University of Idaho students more than two years ago. The evidence includes a series of texts sent between the two surviving roommates who were inside the house at the time of the murders. New Mexico officials are expected to share new details on Friday into the investigation of the deaths of actor Gene Hackman and his wife, Betsy Arakawa. The couple's bodies were discovered in their Santa Fe home last month. At least 164 measles cases have been reported across nine states this year, with two unvaccinated patients — a child in Texas and an adult in New Mexico — dying from the virus. Health experts warn that measles can weaken the immune system, increasing the risk of future infections in a condition known as "immune amnesia." CBS News medical contributor Dr. Céline Gounder explains the long-term impact. New data shows layoffs increased last month to the highest level since the peak of the COVID-19 pandemic. Meanwhile, Friday's unemployment report revealed employers added 151,000 jobs in February, which is below economists' forecasts. MoneyWatch correspondent Kelly O'Grady reports. Ringo Starr made his Grand Ole Opry debut in Nashville last month, performing the country classic "Act Naturally," a song he and The Beatles first covered in the '60s. While best known for rock, Starr has always had a love for country music. In a new concert special airing Monday on CBS, he celebrates the genre at the historic Ryman Auditorium. Anthony Mason sits down with him to discuss the performance. Ariana Grande and Cynthia Erivo's powerful duet "Defying Gravity" highlights the stunning visuals of the"Wicked" film, where costume designer Paul Tazewell reimagined Oz through more than 1,000 intricate designs. With a Tony for "Hamilton" and an Emmy for "The Wiz Live!," Tazewell is now closer to EGOT status after making history at the Academy Awards. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

JP Riley has had quite the life so far, and he's not even close to done. After making the hit independent film Act Naturally in 2011, he's back with the follow-up, Act Supernaturally. On top of writing, directing and producing, (he's also worked on Eddie Murphy's Axel F and the video for Taylor Swift's "You Need to Calm Down") he also wrote the music with his band Nak'd Lion.Act Supernaturally is scheduled for release in the US on April 20th. (We'll share links when they're available.) And you can find Nak'd Lion's music wherever you get your music.

In 2011, JP Riley's Act Naturally introduced audiences to Bear Lake, a fictional nudist resort inherited by two estranged stepsisters. The film became a cult favorite among naturists, praised for its humor, heart, and authentic portrayal of nudism. Now, after over a decade, Riley is ready to unveil Act Super Naturally, a sequel that's been as tumultuous behind the scenes as the fictional resort's drama.Read the original article at www(dot)planetnude(dot)co This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.planetnude.co/subscribe

It's Ringo's turn to mount the microphone like a bucking bronco (now there's an image for you) with the, let's say, country classic Act Naturally. Is it, in fact, a country classic? Is it a song in need of reappraisal? And how does it compare with the non-Ringo songs on the album?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

This week we present a remastered, re-edited, and re-mixed version of our second-ever episode, all about the great Buck Owens. We discuss his career with his musical partner Don Rich and his band The Buckaroos, plus his massive influence on country and rock music. We add his song "Act Naturally" to our Ultimate Country Playlist, which was not only a No. 1 Country hit for Buck, but was famously covered by The Beatles, as well as other artists like Loretta Lynn and Charlie Pride.Check out our Patreon!Check out our new merch store!Instagram: @TakeThisPodandShoveItFor everything else click HERE!Want to create your own great podcast? Why not start today! We use BuzzSprout for hosting and have loved it. So we suggest you give them a try as well! Buzzsprout gets your show listed in every major podcast platform, and makes understanding your podcast data a breeze. Follow this link to let Buzzsprout know we sent you—you'll get a $20 credit if you sign up for a paid plan, and it helps support our show.

Have you ever wondered why God created grandparents? I'm sure most of you have fond memories of your grandmas or grandpas. For many of us, we can't possibly imagine our lives without them.This week, I pay respect to my mom's mom—grandma, a petite, powerful spit of a woman whose healer's hands kept the family fed and on the right path. So join me and Nashville recording artist Blu Waters, the voice behind the songs we feature in each episode. The same songs serve as the theme in every chapter of my soon-to-be-published book I'm Just a Country Song: Three Chords and Only My Truth.“Grandma's Hands is a song that reminds us of the beauty of having someone who takes care of us despite any hardships.” - Darlene ChambersIn This Episode:- Who originally wrote the song “Grandma's Hands”?- What did Blu's grandma mean to her?- Let's sing along with Blu as she sings “Grandma's Hands” - Chapter reading and what “Grandma's Hands” really means - Teaser and quiz for episode 3 (“Act Naturally”)- Why I picked “Act Naturally” to be the 3rd chapter of my bookConnect with Blu Waters:Website - https://www.chooseyourblu.com/Website - https://dot.cards/blucrewFacebook - https://web.facebook.com/iambluwaters/Instagram - https://www.instagram.com/iambluwaters/TikTok - https://www.tiktok.com/@iambluwatersYoutube - https://www.youtube.com/@iambluwatersConnect with Darlene Chambers:Website - https://fullcircles.biz/Facebook - https://www.facebook.com/darlene.chambers.37625/YouTube - https://www.youtube.com/@ImJustaCountrySong

This week's song tells the tale of someone who has been rejected and, being heartbroken, can be in the movies and play the role of someone sad and lonely without knowing anything about acting–just “act naturally.”In essence, the song gives us hope that we can continue believing in ourselves even in the face of rejection, and one day, we will finally take center stage. I hope this song inspires you.So join me and Nashville recording artist Blu Waters, the voice behind the songs we feature in each episode. The same songs guide the reading from my soon-to-be-published book I'm Just a Country Song: Three Chords and Only My Truth.“Act Naturally” comes from the phrase we often tell each other when we are nervous. Just be yourself; it will all work out. Although it is not easy to face rejection, this upbeat song is about believing in YOU. And if you do, you might take the world's centerstage.” - Darlene ChambersIn This Episode:- Who originally wrote and sang the song “Act Naturally”?- Who is the protege of Buck Owens who re-introduced the song?- A lesser-known fact about the song- Why the song chose me- Let's sing along with Blu as she sings “Act Naturally”- Chapter reading- Teaser and quiz for episode 4 (“Mama Tried”)Connect with Blu Waters:Website - https://www.chooseyourblu.com/Website - https://dot.cards/blucrewFacebook - https://web.facebook.com/iambluwaters/Instagram - https://www.instagram.com/iambluwaters/TikTok - https://www.tiktok.com/@iambluwatersYoutube - https://www.youtube.com/@iambluwatersConnect with Darlene Chambers:Website - https://fullcircles.biz/Facebook - https://www.facebook.com/darlene.chambers.37625/YouTube - https://www.youtube.com/channel/UCw8gxehSF54DV-uocFUkjAQ

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

Mike speaks with author Steve Matteo about his latest book, Act Naturally: The Beatles On Film, which examines the handful of films starring the fab four along with what shaped them. Buy the book at https://amzn.to/3SaylOEBecome a supporter of this podcast: https://www.spreaker.com/show/the-projection-booth-podcast_2/support.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5513239/advertisement

Mike speaks with author Steve Matteo about his latest book, Act Naturally: The Beatles On Film, which examines the handful of films starring the fab four along with what shaped them. Buy the book at https://amzn.to/3SaylOEThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5513239/advertisement

Singles Going Around- Operation Retrieve- Mono Beatles Volume One"Act Naturally" (T 2553)"Nowhere Man" (T 2553)We Can Work It Out" (T 2553)"Day Tripper" (T 2553)"I've Just Seen A Face" (T 2442)"It's Only Love" (T 2442)"Think For Yourself" (T 2442)"Michelle" (T 2442)"I Want To Tell You" (T 2576)"Got To Get You Into My Life" (T 2576)"Tomorrow Never Knows" (T 2576)"I'm Only Sleeping" (T 2553) *"Doctor Robert" (T 2553) *"And Your Bird Can Sing" (T 2553) *"You Won't See Me" (T 2442)"Wait" (T 2442)"Good Day Sunshine" (T 2576)"Getting Better" (MAS 2653)"When I'm Sixty Four" (MAS 2653)"Lovely Rita" (MAS 2653)"Good Morning, Good Morning" (MAS 2653)"What Goes On?" (T 2553)"Sgt Pepper's Lonely Heart Club Band (Reprise) (MAS 2653)"A Day In The Life" (MAS 2653)* These mono mixes from Yesterday and Today are different from those used on the mono mixes from Revolver.

There was a time when the rock and roll star appearance in a film ostensibly as themselves (or a variant) was a given. Think of the films of Elvis Presley or Cliff Richard. Before the Warholian expression of 15 minutes of fame became a thing, the pop music film was a way to make the most of the latest populist puppet's time in the sun – script be damned, musician's longevity be damned. “Let's just give the kids what they want and reap the benefits before the next pretty face we can exploit”. I'm sure that was the studio mantra. The Beatles were gonna be part of that machine….yet something different happened. Welcome to See Hear Podcast episode 109. The Beatles got signed to a 3 film deal with United Artists, and in 1964 released what has been called the Citizen Kane of rock and roll films, A Hard Day's Night. People have been arguing the merits of their filmic output ever since. This year, author Steve Matteo has released a book called Act Naturally: The Beatles On Film where he focuses on the Fabs as film stars. He looks at the making of each of their 5 films giving credit to their collaborators, as well as putting the films into social context (what else was happening in British cinema at the time). Unfortunately, neither Kerry nor Tim was available to join me on this conversation, but Steve and I had a terrific time talking about his book and all things Beatle-films.....and many things Beatle adjacent. I also make a confession that will have film buffs gathering their pitchforks and hunting me down – I stand by my contention. Thanks hugely to Steve for a very entertaining conversation. I hope to have him back for a round table at some stage. The book Act Naturally: The Beatles On Film is available at all the usual virtual and physical bookstores. It comes with the See Hear stamp of approval. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....   See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com.   Send us feedback via email at seehearpodcast@gmail.com   Join the Facebook group at http://facebook.com/groups/seehearpodcast   Check out the Instagram page at www.instagram.com/seehearpodcast/?hl=en   You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

There was a time when the rock and roll star appearance in a film ostensibly as themselves (or a variant) was a given. Think of the films of Elvis Presley or Cliff Richard. Before the Warholian expression of 15 minutes of fame became a thing, the pop music film was a way to make the most of the latest populist puppet's time in the sun – script be damned, musician's longevity be damned. “Let's just give the kids what they want and reap the benefits before the next pretty face we can exploit”. I'm sure that was the studio mantra. The Beatles were gonna be part of that machine….yet something different happened. Welcome to See Hear Podcast episode 109. The Beatles got signed to a 3 film deal with United Artists, and in 1964 released what has been called the Citizen Kane of rock and roll films, A Hard Day's Night. People have been arguing the merits of their filmic output ever since. This year, author Steve Matteo has released a book called Act Naturally: The Beatles On Film where he focuses on the Fabs as film stars. He looks at the making of each of their 5 films giving credit to their collaborators, as well as putting the films into social context (what else was happening in British cinema at the time). Unfortunately, neither Kerry nor Tim was available to join me on this conversation, but Steve and I had a terrific time talking about his book and all things Beatle-films.....and many things Beatle adjacent. I also make a confession that will have film buffs gathering their pitchforks and hunting me down – I stand by my contention. Thanks hugely to Steve for a very entertaining conversation. I hope to have him back for a round table at some stage. The book Act Naturally: The Beatles On Film is available at all the usual virtual and physical bookstores. It comes with the See Hear stamp of approval. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....   See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com.   Send us feedback via email at seehearpodcast@gmail.com   Join the Facebook group at http://facebook.com/groups/seehearpodcast   Check out the Instagram page at www.instagram.com/seehearpodcast/?hl=en   You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 397 of Things We Said Today, Ken Michaels, Allan Kozinn and Darren Devivo talk to Steve Matteo about his new book, “Act Naturally – The Beatles on Film.” During the show we mention a few people or subjects we've also covered in other episodes, so if you missed those, here are the relevant links: Episode 337:  Our interview with Dr. Bob Hieronymus & Laura Cortner discuss their books about “Yellow Submarine,” – “Inside The Yellow Submarine” and “It's All In the Mind – Inside the Beatles' Yellow Submarine Vol. 2”: https://www.youtube.com/watch?v=mimPhQnvxms   Ken also did an interview with Dr. Bob and Laura on Ken Michaels Radio channel: https://www.youtube.com/watch?v=rlQqu5ntbF4 Episode 355:  Our interview with Peter Jackson about “Get Back” and “Let It Be”:  https://www.youtube.com/watch?v=QSLb7cpHy00 Episode 277:  Our interview with Paul Rutan about the restoration of “Yellow Submarine” and other Beatles films. https://www.youtube.com/watch?v=4zHgqpTuSgk Also, check out Episode 319, our previous interview with Steve, about his book on “Let It Be”: https://www.youtube.com/watch?v=5HPqNfZJeLg As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             Be sure to check out the video version of Things We Said Today on our YouTube channel, https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A. The audio version can be found at Podbean: https://beatlesexaminer.podbean.com/ as well as at iHeart Radio, Apple podcasts and other distributors of fine podcasts.             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             Twitter @thingswesaidfab             Facebook:  Thins We Said Today or Things We Said Today Radio Fans             ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed.             Allan's Twitter feed: @kozinn             The McCartney Legacy's website: https://www.mccartneylegacy.com/             The McCartney Legacy on Facebook: McCartney Legacy, and on Twitter: @McCARTNEYLEGACY             The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN's radio show can be heard 10pm to 2am Monday through Thursday and 1pm to 4pm Saturday on WFUV 90.7 FM (or 90.7 FM HD2), or at wfuv.org, or on the WFUV app.             Darren on Facebook: Darren DeVivo, and Darren DeVivo: WFUV DJ and Beatles Podcaster Darren's email: darrendevivo@wfmu.org

Do we really need another Beatles book? If it's the new one by Steve Matteo, titled "Act Naturally," we do. Steve focuses on the group's film career, including "A Hard Day's Night," "Help," "Magical Mystery Tour," and "Let It Be." It's a fascinating read and a fascinating conversation."Act Naturally: The Beatles on Film," is available right now wherever you get your books. You can follow Steve on Twitter (we're not calling it X) and check out Backbeat Books for more information.

The boys try to find a sympathetic character in the SAG AFTRA strike and act like they give a damn. These jokes write themselves. PLUS- it's time for a highly competitive edition of "Lyrically Speaking".

Train of Thought is a podcast hosted by Rob Tobias focusing on culture, music, interviews and society. RINGO STARR is the theme for this show. It features comments and some of Ringo's greatest hits. Songs include: BOYS, WHAT GOES ON, I WANNA BE YOUR MAN, ACT NATURALLY, YELLOW SUBMARINE, DON'T PASS ME BY, OCTOPUS'S GARDEN, WITH A LITTLE HELP FROM MY FRIENDS, IT DON'T COME EASY, PHOTOGRAPH, and I'M THE GREATEST. Comments, questions and suggestions for interviews send an email to rob@robtobias.com HOME PAGE: https://robtobias.com TRAIN OF THOUGHT podcast: https://soundcloud.com/robtobias ROB TOBIAS VIDEOS: https://www.youtube.com/robtobiasvideos BANDCAMP: https://robtobias.bandcamp.com/ REVERBNATION: https://reverbnation.com/robtobiasandthenorthwestexpress

In part two: After a peaceful reclamation of the army base built on their land in 1993, elders of Stoney Point lead a movement to take back Ipperwash Provincial Park, which was also part of their original land and contained a burial ground. Racism and political interference turned a peaceful movement into a violent act of state aggression on September 6, 1995. This episode recalls the events of that night, and examines the fallout in the 28 years since, asking if reconciliation will ever be possible for the people of Stoney Point.In this podcast: interviews include Bonnie Bressette, Caroline “Cully” George, Pierre George, Kevin Simon, Claudette Bressette, Alabama Bressette, and Donald Worme. The episode is in memory of Anthony “Dudley” George.Deep thanks to Heather Menzies editor, and Kerry Kilmartin publisher of “Our Long Struggle for Home: The Ipperwash” by Aazhoodenaang Enjibaajig Host: Karyn PuglieseCredits: Karyn Pugliese (Producer), Kim Wheeler (Producer) Research for this episode included:Our Long Struggle for Home: The Ipperwash by Aazhoodenaang Enjibaajig The Ipperwash Inquiry Report: A road map to better relationships between Aboriginal people and the Ontario governmentOne Dead Indian: The Premier, the Police, and the Ipperwash Crisis, a book by Canadian investigative journalist Peter EdwardsSound in this podcast included:“Late Night news (Problems) by Farewell Davidson G20 Protests in Toronto Turn Ugly recorded by George KourounisA look back at Ipperwash and Dudley George's death, APTN by Mark Blackburn June 06, 2013"Act Naturally" by Buck OwensTheme music from “Dudley Do-Right” cartoonDudley Do-Right "Marigolds" episodeListen to Maxed Out, a podcast by Canada's National ObserverCANADALANDBACK is a co-production from Canada's National Observer & Canadaland Sponsors: Douglas, Freshbooks If you value this podcast, Support us! You'll get premium access to all our shows ad free, including early releases and bonus content. You'll also get our exclusive newsletter, discounts on merch at our store, tickets to our live and virtual events, and more than anything, you'll be a part of the solution to Canada's journalism crisis, you'll be keeping our work free and accessible to everybody. You can listen ad-free on Amazon Music—included with Prime. Hosted on Acast. See acast.com/privacy for more information.

Pinkie Sings "Act Naturally" Written by Johnny Russell & Voni Morrison.Recorded by Buck Owens & The Beatles 

This week at Maplewood, we're taking a close look at the criteria Jesus will use to determine the eternal destiny of every human. Pastor Joe explores the implications of a story Jesus told about separating sheep from goats. The results may be eye opening...

What was it like to be in the greatest band in the world and still be the butt of the joke? Do you prefer "Octopus's Garden" or "Act Naturally"? "With A Little Help From My Friends" or "Yellow Submarine"? Double Elvis 'UK correspondent' Ben Burrell (Absolute Radio, Blood on the Tracks podcast) joins Jake to consider the surreal life and career of one Richard Starkey.Catch every After Party live at Twitch.tv/DisgracelandTalks and join the conversation on social @disgracelandpod on TikTok and InstagramSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Guest: Reilly Anspaugh of Headgum's Review Revue.  Walk-in music: ‘Act Naturally' by Buck Owens; SpongeBob SquarePants Theme Song; 'Honky Cat' by Elton John. Follow Punch Up The Jam on Twitter and Instagram Get the punch-ups for yourself and support the show on Patreon Like the show? Rate Punch Up The Jam 5 stars on Spotify and Apple Podcasts and leave a review for Andrew and Evan. Advertise on Punch Up The Jam via Gumball.fm See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

For a woman born in Bakersfield, California, and later returned to that famous town for a time before landing in Nashville, Dr. Shawna Songer Gaines has learned how to "act naturally," even when circumstances might suggest otherwise. Episode 7 explores what it's like to grow up drawn to a calling some believe is reserved only for the male of the species. Gaines tells her story with her typical wit and humor and inspires listeners to consider how the church still has a hope-filled future awaiting it.

It's time for a Soul & Pepper showdown, as Nowhere Man goes up against the title track of SPLHCB... but could Act Naturally or Till There Was You swipe in and take this week's crown? The tension is palpable! 

Today in Rock History for August 6thSee omnystudio.com/listener for privacy information.

Rebirth Jazz Band "Lord, Lord, Lord, You Sure Been Good To Me"Mavis Staples "I Wish I Knew How It Would Feel To Be Free"Charlie Feathers "Can't Hardly Stand It"James Wayne "Junco Partner"Gillian Welch "Lowlands"Lonnie Johnson "Tomorrow Night"Otis Smith "Sunday School Woman"Adia Victoria "Devil Is A Lie"Superchunk "Endless Summer"Drag the River "Truth"Joan Shelley "Amberlit Morning"Louis Armstrong "Back O' Town Blues"Bonnie Raitt "Blame it On Me"Varetta Dillard "Mercy Mister Percy"Earl King "Come On (Part 1)"Buck Owens And The Buckaroos "Act Naturally"Queen "Stone Cold Crazy"Little Richard "Rip It up (8D)"The Maddox Brothers & Rose Maddox "Move It on Over"The Dixie Cups "All Grown Up"R.E.M. "Gardening At Night"Billie Holiday "It's Easy to Blame the Weather"Big Bill Broonzy "When Did You Leave Heaven"Songs: Ohia "Farewell Transmission"Esther Phillips "Better Beware"Hound Dog Taylor "Gonna Send You Back to Georgia"The Jim Carroll Band "People Who Died"Bob Dylan "False Prophet"Built To Spill "Kicked It in the Sun"Otis Redding "You Don't Miss Your Water"John Prine "Sweet Revenge"Roy Hawkins "The Thrill Is Gone"Ruth Brown with Budd Johnson's Orchestra "Teardrops From My Eyes"Elvis Presley "One Night"Andrew Bird "Lone Didion"Fats Waller "I wish I were Twins (05-16-34)"Howlin' Wolf "Evil"Hank Williams "Lovesick Blues"The Pogues "Down All the Days"Merle Haggard & The Strangers "The Bottle Let Me Down"The Mountain Goats "Wild Sage"Jelly Roll Morton "Don t you leave me here"Mississippi Fred McDowell "Louise"Cab Calloway and His Orchestra "Is That Religion'"Bo Diddley "Say Man, Back Again"Billy Joe Shaver "Hardworkin' Man"Valerie June "Keep the Bar Open"The Replacements "Here Comes a Regular"

This week they invade December 1982 with Chris Gorbos (Westside Comedy Theater) and run down MASH, Tootsie, and creepy acting classes. Join the invasion! Instagram | Facebook | Twitter Miller & Son BBQ Sauce: https://www.millsauceco.com/ PURE YogaTV: https://pureyogatv.com/ Site Altitude: https://sitealtitude.com/  Music Credits: "Fife and Drum" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License https://creativecommons.org/licenses/by/4.0/legalcode  "Exhilarate" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License https://creativecommons.org/licenses/by/3.0/legalcode  "Glitter Blast" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License https://creativecommons.org/licenses/by/3.0/legalcode 

Durante il periodo in cui i Beatles stavano scrivendo i brani che avrebbero composto la scaletta dell'album Help! i loro impegni erano piuttosto densi, come al solito. Un intero film si accompagnava all'uscita del disco, o sarebbe meglio dire il contrario. I quattro arrivarono con l'acqua alla gola per completare il disco intero, complice anche una loro certa pignoleria nel volere il massimo. Per ascoltare la playlist di oggi su Spotify clicca qui! https://rbe.it/?p=70051

If you don't know Buck Owens, one of your favorite musicians is almost certainly influenced by him (or influenced by someone who was  influenced by him, etc.). On this episode Danny and Tyler discuss Buck's wild success, his hilarious band (The Buckaroos), the megahit "Act Naturally," and how rebelling against the Nashville Sound can be even more rock 'n' roll than rock 'n' roll itself. Follow the Spotify link to keep up with which songs are being added to our Ultimate Country Playlist:https://tinyurl.com/takethispodplaylistOther recommended Buck Owens listening from Danny and Tyler:I've Got A Tiger By The TailCorn LiquorWho's Gonna Mow Your Grass?Sweethearts In HeavenPick Me Up On Your Way DownRollin' In My Sweet Baby's Armsgreatest hits medleys, including:I Don't Care (As Long As You Love Me)/My Heart Skips A Beat/Gonna Have Love&Under Your Spell Again/Above and Beyond/Excuse Me (I Think I've Got A Heartache)/Foolin' Around/Hello Trouble/Truck Drivin' Man...and of course, (It's A) Monster's Holiday, Buck's Halloween song.You can now support us on PATREON!For other playlists, ways to listen, and more, click here!

In this week's episode we're featuring the final album in Johnny Russell's six short years at RCA Records: "Here Comes Johnny Russell" (1975). A big man with a big heart and a big voice, Russell turned to songwriting in his mid-teens (mostly out of necessity) and in 1959 scored a B-side on Jim Reeves monster "He'll Have To Go". Russell's "In A Mansion Stands My Love" got the attention of Chet Atkins and it was that relationship which bore fruit many times over for the talented Mississippi entertainer. "Act Naturally" from Russell's pen proved highly lucrative when Buck Owens and a slew of others cut it in 1963 onwards, and he was soon hired to The Wilburn Brothers' Surefire Music where he worked for a number of years. Like many performers however, Russell wanted to sing - growing frustrated at his lack of opportunities he even moved back to California for a time before Atkins finally put him on RCA in 1971. Recognition in the form of several hits songs came Russell's way and his output over six years remained consistently strong. "Here Comes Johnny Russell" is an enjoyable listen and worthy of a feature this week.

In this week's episode we're featuring the final album in Johnny Russell's six short years at RCA Records: "Here Comes Johnny Russell" (1975). A big man with a big heart and a big voice, Russell turned to songwriting in his mid-teens (mostly out of necessity) and in 1959 scored a B-side on Jim Reeves monster "He'll Have To Go". Russell's "In A Mansion Stands My Love" got the attention of Chet Atkins and it was that relationship which bore fruit many times over for the talented Mississippi entertainer. "Act Naturally" from Russell's pen proved highly lucrative when Buck Owens and a slew of others cut it in 1963 onwards, and he was soon hired to The Wilburn Brothers' Surefire Music where he worked for a number of years. Like many performers however, Russell wanted to sing - growing frustrated at his lack of opportunities he even moved back to California for a time before Atkins finally put him on RCA in 1971. Recognition in the form of several hits songs came Russell's way and his output over six years remained consistently strong. "Here Comes Johnny Russell" is an enjoyable listen and worthy of a feature this week.

Dollar Country is supported by donations, find out more at patreon.com/dollarcountry dollarcountry.org

BOOTS & SADDLE - JUNE 15, 2021 1. Reflections of a Fool - Dick Damron (Starday Sessions - 1961 & 1963 - 2001)  2. Keep the Home Fires Burning - Dianne Leigh (Single - 1968)  3. You're a Cheater - Eddie McDuff (Single)  4. Don't Laugh at the Honky-Tonks - Orville Couch (Single)  5. If I'd Known Then - Frankie Miller (Country Music's Great New Star - 1962) 6. Ruffle My Feathers - Frannie Klein (Single) 7. I'm Comin' Home - The Jakebrakes (We Still Gotta Lotta Livin' To Do - 2020) 8. Canción en Español - Jolie Blue & The Habaneros (Picante - 2021) 9. Fallen So Far - Mark Stuart (Texacali Troubadour - 2019) 10. In the Time It Takes to Leave - Tony Douglas (The Versatile Tony Douglas - 1969) 11. Southbound Blues - Nicholas Campbell (Livin' and Other Western Ideas- 2021) 12. Soul Train - Charlie Marie (Ramble On - 2021) 13. I'm Gonna Leave You - Hannah Juanita (Single | Hardliner - 2021) 14. Here Come the Blues - The Shootouts (Bullseye - 2021) 15. Bullseye [instrumental] - The Shootouts (Bullseye - 2021) 16. Car Wheels On A Gravel Road - Lucinda Williams (Car Wheels on A Gravel Road - 1998) 17. Lookout Heart - The Country Side of Harmonica Sam (A Drink After Midnight - 2017) 18. Dreaming of Montana - David Miner (Silver Valley - 2021) 19. I'm Gonna Lock my Heart (and Throw Away the Key - take 1) - Juvel (Juvel - 2020) 20. I Never Did Like Planes - Robbie Fulks (Georgia Hard - 2005) 21. Like There's No Tomorrow - Marie Bottrell (via YouTube) 22. Under the Big Big Sky - Russell deCarle (Under The Big Big Sky - 2010) 23. Sink Full of Dishes - Slow Leaves (Shelf Life - 2020) 24. Melba from Melbourne - Marty Robbins (R.F.D. - 1964) 25. (I Hope I) Die Young - Gus Clark (Some of My Songs - 2020) 26. Act Naturally [instrumental] - The Buckaroos (The Instrumental Hits of Buck Owens and His Buckaroos - 1965) 27. Act Naturally - Buck Owens (Single - 1963) 28. Julie - Waylon Jennings (Hangin' On - 1968) 29. I Hate Myself - Jean Shepard (Lonesome Love - 1958) 30. The Good Old Days Are Now - Hank & Ella with The Fine Country Band (Good at Being Lonely - 2021) 31. Metal Firecracker - Lucinda Williams (Car Wheels on A Gravel Road - 1998) 32. Gentle On My Mind [instrumental] - Nashville Fiddles (Just Fiddlin' Around [The Dave Cash Collection] - 2005) 33. Long May You Run - Neil Young (Unplugged - 1993)

Act Naturally by Music from Randy Resnick

Welcome to the Big Beatles Sort Out, a show in which I, author and musician Garry Abbott, attempt to finally decide my favourite Beatles recordings by scoring each and every one for lyrical content, musicality and production. I am assisted in this venture by my brother and resident Beatles expert, Paul Abbott, with a deep knowledge of the Beatles and the wider context in which they operated. Each episode we explore and score 5 songs from the Beatles full recording catalogue. The songs are drawn at random to try and avoid any album or era prejudices skewing the results. So please join us as we try and sort out, The Beatles. This Week's Songs: Piggies, The Word, Act Naturally, I'm Looking Through You, And Your Bird Can Sing PLUS RUTLES BONUS! It's Looking Good! Please let anyone know about this podcast who might be interested! You can contact me on Twitter @big_sort or @Garry_Abbott, or via my website www.garryabbott.co.uk. If you would like to support my music, please consider ordering my new EP 'Chapter And Multiverse' and/or listening to the singles here on Spotify. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy Spotify playlist: Episode 26 Playlist Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: https://docs.google.com/spreadsheets/d/1Qc7mHMeBBM9LSPUV0L6zrYrF2Rib9eX-Xssua-Wox3g/edit?usp=sharing

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. 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/ —-more—- ERRATA: I say that the Surfin’ USA album was released only four months after Surfin’ Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet’s name as if he were French here. I believe that’s incorrect and his name is actually pronounced “Vennit”, though I’m not 100% sure. More importantly, I say that “Sweet Little Sixteen” wasn’t a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks’ autobiography. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys’ music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we’re going to take our second look at the Beach Boys, and we’re going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We’re going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We’re going to look at “Don’t Worry Baby”: [Excerpt: The Beach Boys, “Don’t Worry Baby”] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, “Surfin’ Safari” backed with “409”. Since then we’ve also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After “Surfin’ Safari” was a hit, in one of the many incomprehensible decisions made in the Beach Boys’ career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, “Ten Little Indians”. That track, a surf-rock version of the nursery rhyme with the group chanting “Kemo sabe” in the backing vocals, made only number forty-nine on the charts, and frankly didn’t deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson’s father and the group’s manager, as a way of weakening Usher’s influence with the group, as Murry didn’t want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group’s next single followed the same pattern as their first hit. The B-side was “Shut Down”, a car song co-written by Brian and Roger Christian, who you may remember from the episode on “Surf City” as having been brought in to help Brian with car lyrics. “Shut Down” is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group’s lead singer. His two-note saxophone solo comes in for some mockery from the group’s fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, “Shut Down”]  “Shut Down” was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry’s “Sweet Little Sixteen”, and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] He might well also have been thinking of Chubby Checker’s minor hit, “Twistin’ USA”, which listed places in America where people might be twisting: [Excerpt: Chubby Checker, “Twistin’ USA”] Brian had taken Berry’s melody and the place-name recitation, and with the help of his girlfriend’s brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing — at least, they could “if everybody had an ocean”: [Excerpt: The Beach Boys, “Surfin’ USA”] “Surfin’ USA” became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn’t result in a financial windfall for him as the songwriter. As the song was so close to “Sweet Little Sixteen”, Chuck Berry got the sole songwriting credit — one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit — “Sweet Little Sixteen”, while a great record, had never been a particularly big hit, while “Surfin’ USA” is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. “Surfin’ USA” was the title song of the group’s second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year — Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product — though Little Deuce Coupe featured four songs recycled from their earlier albums — but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet’s production on the first album. Not only that, but as well as making the Beach Boys’ records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a “Loco-Motion” knock-off, “The Revolution”, released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, “The Revolution”] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer — some say it was Betty Everett, but given that that’s the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, “Act Naturally”] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, “The One You Can’t Have”] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of “Surfin’ USA”, he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group’s tour of the Midwest that Spring, and on many of the shows they performed over the summer — he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian’s parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group’s vocal harmonies. And this was a major change. Up to this point, the Beach Boys’ records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis’ voice was also a little thin at this point, and he was behind the drum kit, which meant he didn’t get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on “In My Room”. This is one of the first songs on which Jardine took part in the studio, though he’s actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. “In My Room” is a major, major, step forward in the group’s sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song’s lyrics, written by Gary Usher but inspired by Wilson’s experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, “In My Room”] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks’ fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David’s mother, which hadn’t worked out well for him.  But then on Marks’ fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out — as he had to, as he needed to pay their doctor’s bills — he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn’t need those Wilsons, and as a fifteen-year-old kid he didn’t have the understanding to realise that this might not be entirely true. He said “OK, I quit”. At first, the rest of the group thought that he was joking, and even he wasn’t at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they’d all heard him, and refused to speak directly to him — anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay — especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who’d lobbied to bring his friend into the group in the first place — David was still, as the youngest member, the only one who didn’t sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song “Kustom Kar Show”, Brian told David that he wasn’t ready to be writing songs for the group.  All this, plus pressure from David’s parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, “Kustom Kar Show”] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn’t co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it’s quite obvious why they weren’t played — they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time — some of Marks’ flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years — Murry Wilson didn’t want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn’t let up. Brian’s songwriting was progressing at a furious pace, and that can be seen nowhere better than on “The Warmth of the Sun”, a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination — the two men have differed over the years over whether it was written the night before or the night after the assassination. “The Warmth of the Sun” is quite staggeringly harmonically sophisticated. We’ve talked before in this podcast about the standard doo-wop progression — the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] “The Warmth of the Sun” starts out that way — its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You’d expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G — and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, “The Warmth of the Sun”] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time — it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian’s other big influences. “Fun Fun Fun” had lyrics by Mike Love — some of his wittiest — and starts out with an intro taken straight from “Johnny B. Goode”: [Excerpt: The Beach Boys, “Fun Fun Fun”] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to “Da Doo Ron Ron”. Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that “Da Doo Ron Ron”‘s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, “Fun Fun Fun”] That became the group’s fourth top ten hit, and made number five on the charts — but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band — Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards — but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn’t guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, “I Get Around (backing track)”] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father’s interference, and fired him as the band’s manager. Murry would continue to keep trying to interfere in his children’s career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, “I Get Around”] It’s fascinating to see that even this early in the group’s career, and on one of their biggest, summeriest hits, there’s already a tension in the lyrics, a sense of wanting to move on — “I’m getting bugged driving up and down the same old strip/I’ve got to find a new place where the kids are hip”. The lyrics are Love’s, but as is so often the case with Brian Wilson’s collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and “I Get Around” was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. “I Get Around” is a worthy classic, but the B-side, “Don’t Worry Baby”, is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by “Be My Baby”, which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, “Be My Baby”] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line “Be my little baby”, and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, “Don’t Worry Baby”] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing — Ronnie Spector recorded a solo version of it many decades later, and it’s a fine performance, but the lyric misses something when it’s sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings “I guess I should have kept my mouth shut when I started to brag about my car,  but I can’t back down now because I pushed the other guys too far”, and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in “Dead Man’s Curve”, or “Tell Laura I Love Her”, or in another teen tragedy song we’ll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist’s fears are allayed by his girlfriend: [Excerpt: The Beach Boys, “Don’t Worry Baby”] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can’t cope with. He’s saved by a figure we’ll see a lot more of in Brian’s songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she’s too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic — the idea that the man is unable to deal with his own emotional problems without a woman fixing him — but there’s an emotional truth to it that one doesn’t get in much music of the era, and even if it’s a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it’s paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. “Don’t Worry Baby”, released as “I Get Around”’s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of “Don’t Worry Baby”: [Excerpt: The Beach Boys, “She Knows Me Too Well”] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon’s work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector’s production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, “Guess I’m Dumb”] Campbell got given that track because of an enormous favour he’d done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he’d had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he’d managed to get through that night’s show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys’ recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We’ll take a look at the results in a few weeks’ time.

In which we compare midcentury Bakersfield to Paris in the 1920s, discuss how to build a music scene, and hear a song sung by a truck. See everyrecordeverrecorded.com for more Bakersfield Sound resources! + George Rich, "Drivin' Away My Blues" + Nathan Judd, "The Answer to the Greenback Dollar" + Bob Wills and the Texas Playboys, "Get Along Home, Cindy" + Captain Sacto theme song + Cousin Herb Henson, "You'all Come" + Patsy Cline, "Crazy" + Buck Owens and the Buckaroos, "Act Naturally" + Buck Owens and the Buckaroos, "Love's Gonna Live Here" + Buck Owens and the Buckaroos, "My Heart Skips a Beat" + Buck Owens and the Buckaroos, "Together Again" + Buck Owens and the Buckaroos, "I Don't Care (Just As Long As You Love Me)" + Buck Owens and the Buckaroos, "I've Got a Tiger By the Tail" + "Before You Go" + "Only You (Can Break My Heart)" + "Buckaroo" + "Waitin' In Your Welfare Line" + "Think of Me" + "Open Up Your Heart" + "Where Does the Good Times Go" + "Sam's Place" + "Your Tender Loving Care" + "It Takes People Like You (To Make People Like Me)" + "How Long Will My Baby Be Gone" + "I've Got a Tiger By the Tail" + The Carter Family, "Can the Circle Be Unbroken" + William McEwan, "Will the Circle Be Unbroken" + The Silver Leaf Quartette, "Will the Circle Be Unbroken" + The Carter Family, "Little Darlin' Pal of Mine" + The Carter Family, "Sad and Lonesome Day" + Lesley Riddle, "One Kind Favor" + Buck Owens and the Buckaroos, "Ain't It Amazing, Gracie" + The Ventures, "Walk, Don't Run" + The Lemon Pipers, "Green Tambourine" + The Maddox Brothers and Rose, "George's Playhouse" + "The Nightingale Song" + "I'll Make Sweet Love to You" + "Will There Be Any Stars In My Crown" + "New Step It Up and Go" + "Philadelphia Lawyer" + Bob Wills and the Texas Playboys, "Sugar Moon" + Bud Hobbs, "Louisiana Swing" + Milton Brown and His Musical Brownies, "Takin' Off" + Lefty Frizzell, "If You've Got the Money, I've Got the Time" + Bill Woods and His Orange Blossom Playboys, "Have I Got a Chance With You?" + Jean Shepherd and Ferlin Husky, "A Dear John Letter" + Ferlin Husky, "Gone" + Merle Haggard, "Sing a Sad Song" + Merle Haggard, "Swinging Doors" + Bonnie Owens, "Lie a Little" + Merle Haggard, "Today I Started Loving You Again" + Mamie Smith "Crazy Blues" + Saul Ho'opi'i Trio, "Lehua" + Jimmie Rodgers, "Blue Yodel #9" + DeFord Bailey, "John Henry" + Ruth Brown, "Wild Wild Young Men" + Rose Maddox, "Wild Wild Young Men" + Hank Penny, "Bloodshot Eyes" + Wynonie Harris, "Bloodshot Eyes" + Patsy Cline, "Your Cheatin' Heart" + Ray Charles, "Your Cheatin' Heart" + Buck Owens, "Streets of Bakersfield" + Dwight Yoakam and Buck Owens, "Streets of Bakersfield" + Antonio Aguilar, "El Ojo de Vidrio" + Woody Guthrie, "Billy the Kid" + Linda Ronstadt, "Palomita de Ojos Negros" + Ernest Tubb, "Thanks a Lot" + Jose Alfredo Jimenez, "El Rey" + The Maddox Brothers and Rose, "Shimmy Shakin' Daddy" + Bob Wills and His Texas Playboys, "Don't Be Ashamed of Your Age" + Luis Perez Meza, "Cuando Salgo a Los Campos" + Tommy Collins, "You Better Not Do That" + Wanda Jackson, "I Gotta Know" + Wanda Jackson, "Honey Bop" + Billy Mize, "Who Will Buy the Wine" + Red Simpson, "I'm a Truck" + The Derailers, "The Right Place" + Dale Watson, "I Lie When I Drink" + Dave Alvin, "Black Rose of Texas" + The Mavericks, "All You Ever Do Is Bring Me Down" + The Flying Burrito Brothers, "Sin City" + JT Kanehira, "Country Music Makes Me So Happy" + Sturgill Simpson, "Life of Sin" + Albion Country Band, "Hanged I Shall Be" + A.L. Lloyd, "The Oxford Tragedy" + Shirley and Dolly Collins, "The Oxford Girl" + Phoebe Smith "Wexport Girl" + Harry Cox, "Ekefield Town" + Marybird McAllister, "The Bloody Miller" + Fields Ward, "The Lexington Murder" + Arthur and Gid Tanner, "The Knoxville Girl" + Fred Ross, "The Waco Girl" + The Outlaws, "Knoxville Girl" + Merle Haggard, "Kern River"

Today I'm talking to Scott, who has been practicing nudism for the last few years. He talks about how he first got interested in it, what it was like going to a nude resort for the first time, and the many, many misconceptions people have about nudism. Scott suggests the following resources for anyone who might be interested in learning more about nudism: Aanr.com and clothesfree.com, podcasts The New Nudist and Our Naked Story, and the movie Act Naturally. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Country music always played a part in The Beatles' story, more so than it probably gets credit for. Cavern and Hamburg sets featured covers of songs from the likes of Chet Atkins and Carl Perkins, while George's early lead style is massively influenced by them as well, all the way down to his choice of guitar. Ringo's love of country ends up with him doing a full on country album with studio giants in 1971 in Nashville, but before that, he dips his toes in the the country pool with his own songs and cover choices, like #200, "Act Naturally." Ringo's natural acting chops had come to the forefront in their first two films, so it made the most sense for him to be the one singing "they're gonna put the in the movies" on this Buck Owens tune. His persona carries the tune as well, leaning into the "aw shucks"ness naturally inherent in his voice, and for 4 guys who grew up as far away from "country" as possible, they do a fine job on this tune, which serves it's purpose well as the token Ringo vocal on "Help!". Joining us this week is Chapel Hart, a country band consisting of 2 sisters, Danica and Devyn, and their cousin Trea. Their single "Jesus & Alcohol" is currently working it's way up the CMT charts and at country radio, as they try finding safe and smart ways to continue touring and working as a band during cover. They were recently named Mississippi Songwriters of the Year, and we discuss learning about songwriting from the diversity of the radio and learning wordplay from John Lennon. We also touch on crossing over from country to rock and vice versa, keeping a thesaurus and a wrench in your purse, and how they got Z.Z. Top legend Billy Gibbons to appear in their music video. Find out all at about Chapel Hart at www.chapelhart.com, check them out on Facebook, Instagram and TikTok. Their video for "Jesus & Alcohol," featuring Billy MF'in Gibbons, can be seen at https://www.youtube.com/watch?v=1_bMgoPAlTY Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support! Send us your HOT TAKES for a chance to be featured in a future episode! Visit anchor.fm/rankingthebeatles, and click on Message. You can do it from your phone or computer, and send us your thoughts on a track we've discussed or any particular thing that you'd like to hear us yammer on about! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

In episode ten we discuss that famous Ohian rock establishment, that it's actually a big deal for us to get to episode ten of this pod, our first official partnership, how cool it is to get free beer, EP Scotty C's shocking revelation, the punk rock side of the Beatles, if HELP! or RUBBER SOUL is the dividing line between early and late period, how important Ringo is, how cool it is to have your friends bring out the best in you, and the final cover song the Beatles committed to tape with the Buck Owens country song, "Act Naturally."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com). We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a new shop! Grab some merch.See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)#PeteBestGetThatCheck

Juliet and Terence on: the grim future for cinema; rolling news with Andrew Neil; and hits... that weren't hits. {Act Naturally}

Watch Act Naturally!!! - https://itunes.apple.com/ca/movie/act-naturally/id625670202   Like us on Facebook - https://www.facebook.com/The-Movie-Men-Podcast-2335323586526490/ Support us on Patreon - https://www.patreon.com/themoviemenpodcast Follow us on Instagram - https://www.instagram.com/themoviemenpodcast/ Follow us on Twitter - https://twitter.com/TheMovieMenPod Buy our Merch - https://shop.spreadshirt.ca/the-movie-men-podcast/   Theme • Song: Extreme Energy (Music Today 80) • Composed & Produced by : Anwar Amr • Video Link: https://youtu.be/8ZZbAkKNx7s

Happy 80th Ringo Starr! Besides being known as The Beatles' drummer, he sang lead in 11 of their songs. In this episode, we flashback and listen to each. Theme Song: "Dance Track", composed by Jessica Ann CatenaSongs Used: "Boys" - The Shirelles (1960)"I Wanna Be Your Man" - The Rolling Stones (1963)"Matchbox" & "Honey Don't" - Carl Perkins (1956)"Act Naturally" - Buck Owens & Ringo Starr (1989)"With a Little Help From My Friends" - Joe Cocker (1968)"Boys" (1963), "I Wanna Be Your Man" (1963), "Matchbox" (1964), "Honey Don't" (1964), "If You've Got Trouble" (1965/1996), "Act Naturally"(1965), "What Goes On" (1965), "Yellow Submarine" (1966), "Sgt. Pepper's Lonely Hearts Club Band" (1967), "With a Little Help From My Friends" (1967), "Don't Pass Me By" (1968), "Good Night" (1968), "Octopus's Garden" (1969) - The Beatles

Happy 80th Ringo Starr! Besides being known as The Beatles' drummer, he sang lead in 11 of their songs. In this episode, we flashback and listen to each. Theme Song: "Dance Track", composed by Jessica Ann CatenaSongs Mentioned: https://open.spotify.com/playlist/0RDjP1J56oaTJ0U7aInIRW?si=6019327fe07e4ddc"Boys" - The Shirelles (1960)"I Wanna Be Your Man" - The Rolling Stones (1963)"Matchbox" & "Honey Don't" - Carl Perkins (1956)"Act Naturally" - Buck Owens & Ringo Starr (1989)"With a Little Help From My Friends" - Joe Cocker (1968)"Boys" (1963), "I Wanna Be Your Man" (1963), "Matchbox" (1964), "Honey Don't" (1964), "If You've Got Trouble" (1965/1996), "Act Naturally" (1965), "What Goes On" (1965), "Yellow Submarine" (1966), "Sgt. Pepper's Lonely Hearts Club Band" (1967), "With a Little Help From My Friends" (1967), "Don't Pass Me By" (1968), "Good Night" (1968), "Octopus's Garden" (1969) - The Beatles

Are the desires and urges we may be born with a justification to act accordingly?

Biodiversity loss and climate change have may of the same causes: ecosystem destruction both releases carbon into the atmosphere and shrinks the area available for threatened species to survive. Nature-based solutions are emerging as a framework to address these challenges together. Most recently, China and New Zealand were named co-chairs of the Nature-Based Solutions Track for the Climate Action Summit, one of nine areas the UN Framework Convention on Climate Change is focusing on for solutions to the climate crisis. In this podcast, we sit down with Xi Xie from the Nature Conservancy to discuss Nature-Based Solutions in China and China's role in promoting NBS worldwide.  Xi Xie is the Climate Change and Energy Director for TNC China. She has 12 years of experience working on international climate efforts, both in government and NGO roles. She holds a bachelor's degree and a master's degree from Xi'an Jiaotong University. In the show, participants discuss a paper written in part by authors from TNC, Bronson W. Griscom et al., "Natural climate solutions," Proceedings of the National Academy of Science (PNAS), September 5, 2017, at https://www.pnas.org/content/pnas/early/2017/10/11/1710465114.full.pdf.  Other terms discussed in the show are:  The International Union for Conservation of Nature (IUCN): https://en.wikipedia.org/wiki/International_Union_for_Conservation_of_Nature The World Resources Institute (WRI): https://www.wri.org/.

1 The Last Thing On My Mind Dolly Parton & Porter Wagoner 2 Act Naturally Buck Owens 3 Clay Pigeons Blaze Foley 4 Sing Me Back Home The Flying Burrito Brothers 5 I Gotta Go Get My Baby Justin Tubb 6 Hickory Wind Gram Parsons 7 The Kneeling Drunkard’s Plea The Louvin Brothers 8 Where The Grass Won’t Grow George Jones 9 I Forgot More Than You’ll Ever Know The Davis Sisters 10 Mississippi Delta Bobbie Gentry 11 Howdy, Neighbor, Howdy Porter Wagoner 12 My Blue Tears Dolly Parton 13 I’ve Been Loving You Too Long Sandy Posey 14 Much Too Young To Die Ray Price 15 I’ll Be Here In The Morning Townes Van Zandt 16 Mississippi You’re On My Mind Jerry Jeff Walker 17 Funny How Time Slips Away Willie Nelson 18 San Francisco Mabel Joy Mickey Newbury 19 If You Don’t Like Hank Williams Kris Kristofferson 20 Jambalaya Hank Williams 21 Why Don’t You Haul Off and Get Religion Carl Story 22 Milwaukee Here I Come George Jones & Tammy Wynette 23 No Help Wanted The Carlisles 24 Pickin’ Wild Mountain Berries Conway Twitty & Loretta Lynn 25 Jackson Lee Hazlewood & Nancy Sinatra 26 Girl Named Sam Lois Williams 27 Sweet Singing Daddy Jimmy and Johnny 28 Excuse Me (I Think I’ve Got A Heartache) Buck Owens 29 Hey Jude Area Code 615 30 The Night They Drove Old Dixie Down Don Rich & The Buckaroos 31 That Old Time Feeling Guy Clark 32 Changing Colors Jim Ford 33 Let The Mystery Be Iris DeMent 34 Hard Times Gillian Welch 35 Where Do We Go From Here Marvin Rainwater 36 500 Miles Away From Home Bobby Bare 37 Alabama The Louvin Brothers 38 What Are Those Things (With Big Black Wings) Roger Miller

It's time to head Uphill Both Ways again. In episode #56, "Act Naturally", Joseph and Mike recap the latest round of the Retro Pop-Culture Battle Royale (which brings the participants down to the 'Sweet 16'), Joe delivers on Mike's Mixtape Challenge, Mike tries to defend the movie "Xanadu", and finally they run down some singers who managed to successfully (but maybe not critically), transition into one or more acting gigs. "You have thirteen hours in which to solve the labyrinth, before your baby brother becomes one of us... forever."

Un día como hoy, pero de 1965, fue grabada la canción "Wait" en una sesión donde se grabó la orquesta de "Yesterday" y la canción "Act Naturally".

Un día como hoy, pero de 1965, fue grabada la canción "Wait" en una sesión donde se grabó la orquesta de "Yesterday" y la canción "Act Naturally".

Act Naturally

Welcome to Deep Cuts with Jaleh and Jessica, where we are at our weirdest and pop culture laden finest, and occasionally, we even talk about the TV show this podcast is actually about. There are tons of returning characters-- Candace Hart, Bootin' Scootin' Lloydy, and a card-carrying Crazy Earl. Come go with us, dear hearts, and 10 points to anyone who actually understands all our references.

Darin Murphy has been studying and recreating the music of the Beatles for over thirty years.  He honed his musical and production skills in a series of "Fab Fourgeries", playing all the parts, producing, engineering and mastering (without the help of digital manipulation) half a dozen Beatles songs.     Murphy is known for his original music, a popular regional band with his sister, drumming for Robert Harrison-led "Cotton Mather", musical director and multi-instrumentalist for Texas party powerhouse SKYROCKET!, and a stint (approved by Yoko Ono) as understudy and one of the Lennons in Broadway musical "Lennon."    Now he joins WTWF for several shows in the following weeks and months in what we are referring to as "The summer of Darin Murphy."

Durée : 59:40 - LA SELECTION DES CONCERTS A VOIR CETTE SEMAINE: The Stranglers - No More Heroes (Mercredi 29 Novembre à Stereolux Nantes) Audrey Lopes - New Horizon (Mercredi 29 Novembre au Bé2m Nantes) Mademoiselle K - Sous les Brûlures (Mercredi 29 Novembre au Ferrailleur Nantes -COMPLET- Bon plan: en showcase à 16H à l'Espace Culturel Atout Sud de Rezé) Kaviar Special - Starving (Jeudi 30 Novembre au Pôle Etudiant de l'Université de Nantes, dans le cadre de la Nuit Q) Hawaiian Pistoleros - Act Naturally (Vendredi 1er Décembre à La Soufflerie Rezé) Vintage Cover - It's A Long Way To The Top -AC/DC cover- (Vendredi 1er Décembre au Black Shelter Carquefou) Pumpkin & Vin's da Cuero - Mauvais Genre (Samedi 2 Décembre à Stereolux Nantes) Cabadzi - Oui (Samedi 2 Décembre à Stereolux Nantes) Cabadzi - Bouche (Samedi 2 Décembre à Stereolux Nantes) No Chiefs - Bombtrack -RATM cover- (Samedi 2 Décembre au Ferrailleur Nantes) Cagette - John's Walking (Dimanche 3 Décembre au Chien Stupide Nantes) The Living Eyes - Spring (Dimanche 3 Décembre au Chien Stupide Nantes) The Shoes - Made For You (En DJ set, Dimanche 3 Décembre à l'Altercafé Nantes) Fotocrime - Duplicate Days (Lundi 4 Décembre au Dynamo Café Nantes) Pour encore plus de concerts, allez voir là: www.facebook.com/DuBruitaNantes Excellente semaine dans les salles et à Lundi 4 Décembre, à partir de 19H, en direct des studios de Sun !

Durée : 59:40 - LA SELECTION DES CONCERTS A VOIR CETTE SEMAINE: The Stranglers - No More Heroes (Mercredi 29 Novembre à Stereolux Nantes) Audrey Lopes - New Horizon (Mercredi 29 Novembre au Bé2m Nantes) Mademoiselle K - Sous les Brûlures (Mercredi 29 Novembre au Ferrailleur Nantes -COMPLET- Bon plan: en showcase à 16H à l'Espace Culturel Atout Sud de Rezé) Kaviar Special - Starving (Jeudi 30 Novembre au Pôle Etudiant de l'Université de Nantes, dans le cadre de la Nuit Q) Hawaiian Pistoleros - Act Naturally (Vendredi 1er Décembre à La Soufflerie Rezé) Vintage Cover - It's A Long Way To The Top -AC/DC cover- (Vendredi 1er Décembre au Black Shelter Carquefou) Pumpkin & Vin's da Cuero - Mauvais Genre (Samedi 2 Décembre à Stereolux Nantes) Cabadzi - Oui (Samedi 2 Décembre à Stereolux Nantes) Cabadzi - Bouche (Samedi 2 Décembre à Stereolux Nantes) No Chiefs - Bombtrack -RATM cover- (Samedi 2 Décembre au Ferrailleur Nantes) Cagette - John's Walking (Dimanche 3 Décembre au Chien Stupide Nantes) The Living Eyes - Spring (Dimanche 3 Décembre au Chien Stupide Nantes) The Shoes - Made For You (En DJ set, Dimanche 3 Décembre à l'Altercafé Nantes) Fotocrime - Duplicate Days (Lundi 4 Décembre au Dynamo Café Nantes) Pour encore plus de concerts, allez voir là: www.facebook.com/DuBruitaNantes Excellente semaine dans les salles et à Lundi 4 Décembre, à partir de 19H, en direct des studios de Sun !

Hayne shares the story of a friend in the radio biz who left a "toxic" broadcasting situation for much greener pastures in New York City.

Written copy can be found at www.davesevern.com/blog

In this episode, Richard and Robert talk with the host of the Multitrack Meltdown podcast, author/musician Anthony Robustelli (I Want To Tell You: Volume 1 1962/1963; Steely Dan FAQ). His specialty is revealing what lies beneath the surface of the masters of Beatles and Beatles-related recordings. Here, you’ll get to hear the inner workings of John’s recordings with Elton John and David Bowie (“Whatever Gets you Through The Night” and “Fame” respectively); Paul with Stevie Wonder and Michael Jackson (“What’s That You’re Doing” and “Say Say Say” respectively) and George with Tom Petty (“I Won’t Back Down”). Check out Anthony’s work here: http://www.thebeatlesiwanttotellyou.com/multi-track-meltdown https://soundcloud.com/user-493432193/tracks Songs include “Act Naturally.” Find Robert’s books here. Find Richard’s books here. The post 76: Solo-Beatle Collaborations Deconstructed with Anthony Robustelli appeared first on Something About The Beatles.

In this episode, Richard and Robert talk with the host of the Multitrack Meltdown podcast, author/musician Anthony Robustelli (I Want To Tell You: Volume 1 1962/1963; Steely Dan FAQ). His specialty is revealing what lies beneath the surface of the masters of Beatles and Beatles-related recordings. Here, you’ll get to hear the inner workings of John’s recordings with Elton John and David Bowie (“Whatever Gets you Through The Night” and “Fame” respectively); Paul with Stevie Wonder and Michael Jackson (“What’s That You’re Doing” and “Say Say Say” respectively) and George with Tom Petty (“I Won’t Back Down”). Check out Anthony’s work here: http://www.thebeatlesiwanttotellyou.com/multi-track-meltdown https://soundcloud.com/user-493432193/tracks Songs include “Act Naturally.” Find Robert’s books here. Find Richard’s books here. The post 76: Solo-Beatle Collaborations Deconstructed with Anthony Robustelli appeared first on Something About The Beatles.

In this expanded edition, Richard and Robert examine the new film on The Beatles’ performing years, in theaters and on Hulu; as well as the restored Shea Stadium concert film. Joining us are two guests who contributed to the project: renowned archivist Erik Taros and author (”Some Fun Tonight”) Chuck Gunderson, explaining the process from the inside. Their insights offer a glimpse into the project’s evolution and how we got to where we ended up. Songs include “Act Naturally” and “Long Tall Sally.” Find Robert’s books here. Find Richard’s books here. The post 72: Ron Howard’s Beatles – Eight Days A Week appeared first on Something About The Beatles.

In this expanded edition, Richard and Robert examine the new film on The Beatles’ performing years, in theaters and on Hulu; as well as the restored Shea Stadium concert film. Joining us are two guests who contributed to the project: renowned archivist Erik Taros and author (”Some Fun Tonight”) Chuck Gunderson, explaining the process from the inside. Their insights offer a glimpse into the project’s evolution and how we got to where we ended up. Songs include “Act Naturally” and “Long Tall Sally.” Find Robert’s books here. Find Richard’s books here. The post 72: Ron Howard’s Beatles – Eight Days A Week appeared first on Something About The Beatles.

A special episode of the Footy Podcast Gameshow featuring comedian and Bulldogs banner writer Danny McGinlay - competing against regulars Josh and Brenton. You can buy Danny's DVD "Danny McGinlay – The First Complete Season" at his website http://dannymcginlay.com/ and see him in "Shadow Factory" and "Act Naturally" on his Youtube channel. https://twitter.com/dannymcginlay See acast.com/privacy for privacy and opt-out information.

This was a wild one, bunch of kinda drunk creative dudes talking streetwear in a hotel. It was less interview and more of roundtable discussion on brands we don't like, music we've been listening too, and how whack the new Polo Sport is.

Want to know how to look awesome on camera for your promotional videos, Skype conversations, Periscope, Blab, YouTube videos, live streaming? Dan Cordle is the founder of The Film Practice and Scribe Films, and the director of the Chekhov Film Project. He's taught improvisation for nine years at NYU's graduate acting program, including his one-of-a-kind course, Improvisation for the Camera. Dan is also a teacher for Heroic Public Speaking. Tips for Acting Like a Professional Actor [3:29, 16:11, 30:35] Improvisation: Cross-Training for Public Speakers [6:23] How to Rehearse Your Speech Without Losing Spontaneity [7:53] The Perfect Speech: How to Get it "Right" [9:14] The Difference Between Speaking on Stage and Speaking on Camera [12:09; 57:27] How to Speak and Connect to an Audience on Camera [16:55] Tips for Overcoming Camera Fright and Putting Yourself Out There [18:10; 44:58; 55:37] How to Give an Authentic Performance on Stage or on Camera [26:33; 45:27] How to Influence an Audience and Get What You Want [30:00] How to Handle Nerves and Act Naturally on Stage or on Camera [33:38] What to Do With Your Hands and How to Look Natural on Camera [36:25] Public Speaking: What to Do When Your Mind Goes Blank... [44:20] How to Embrace Life as a Creative Artist and Performer [50:05] Games and Practices to Enhance Your Performance Skills [54:00]   Heroic Public Speaking http://heroicpublicspeaking.com Send in your questions questions@michaelport.com Give us a review and help others find this show better! http://stealtheshow.com/podcast/reviews  

The Beatles go country as Ringo takes a starring role in "Act Naturally!" See acast.com/privacy for privacy and opt-out information.

AFTERBUZZ TV — Hart of Dixie edition, is a weekly "after show" for fans of CW's Hart of Dixie. In this show, host Whitney Lane breaks down the episode in which Lavon asks the town for help getting BlueBell declared a historic town; Joel and Zoe continue their search for a place to live; Wade meets Vivian's son; Lynly's trust issues causes tension between her and George. There to help Whitney are co-hosts Paige Sullivan and Michelle Renee. It's Hart of Dixie's "Act Naturally" podcast! Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more of your post-game wrap up shows for your favorite TV shows, visit http://www.AfterBuzzTV.com

A perfect subject for making us all feel uncomfortable, Director/Producer J.P. Riley and Producer/Actor Katie Hall join me to discuss the ins and outs of their full length feature Act Naturally. They filmed it... get this... naked. Okay, okay, it was because the film is kind of about two sisters that inherit a nudist resort, but STILL! Filming on a real nudist resort was a wild ride for all involved and I got down to the bottom (pun intended) of it all. Enjoy with clothes off (optional).

Our guest this week is independent horror film creator Brad Rego, the man behind 'The Killing of Jacob Marr'. Don't miss out as we talk behind the scenes, the hurdles, the workflow, film festivals in the days of the internet and more. And the new iPad. SHOW NOTES: The Killing of Jacob Marr Gargalese Without A Box Act Naturally Shooting "Act of Valor"

A discussion with some of the cast & crew of Act Naturally after the Toronto movie preview and an interview with Dennis Craig Smith, author of The Naked Child/Growing Up Without Shame and Naked Fear. Links to items mentioned in the show: Act Naturally Fox Theatre Nudity & Christianity Podcast – Episode 32 Women Podcast … Continue reading Movie Wrap-Up and Growing Up Without Shame The post: Movie Wrap-Up and Growing Up Without Shame, appeared first on The Naturist Living Show Podcast. #naturism #naturist #nudism #nudist

An interview with J. P. Riley, director and producer of the new independent movie Act Naturally. Filmed at Olive Dell Ranch, this is a naturist movie by naturists but produced by professionals. Plus reviews of Diary of a Nudist, Les Textiles and CBC radio’s DNTO show on “private parts”. Links to items mentioned in the show: … Continue reading New Naturist Film The post: New Naturist Film, appeared first on The Naturist Living Show Podcast. #naturism #naturist #nudism #nudist

"And all I got to do is Act Naturally"

Getting your parrot to present natural behavior in your home can include encouraging foraging behaviors, teaching your parrots to use their unique adaptations to expend energy, and capturing natural behaviors and putting them on cue. In this week's episode Barbara Heidenreich and Robin Shewokis shares ideas and suggestions for getting your parrot to act naturally. More details on this episode MP3 Podcast -Act Naturally - with Barbara Heidenreich and Robin Shewokis on PetLifeRadio.com

This week on the show, industry software news, a gear review for you horn players, an offer of full master multitrack session files from a Trent Reznor (NIN - Nine Inch Nails) with permission to do just about anything you want with them and an unexpected dangerous donkey update! Buck Owens1929-2006 Country music legend and pioneer of the "Bakersfield Sound," Buck Owens is dead at 76. His hit songs include: Act Naturally and I've Got a Tiger by the Tail. Owens also released his own Bridge Over Troubled Water album that included two other Paul Simon songs, as well as particularly strong and moving versions of Bob Dylan's Love Minus Zero, No Limit and Donovan's Catch the Wind. Owens was Nashville outlaw that inspired the same in future artists like Dwight Yokum. We really want you to get involved in the show, so please send us your favorite recording tips and tricks in .mp3 format and we'll include them in the show! And send us pictures of your recording space and equipment which we'll also use in an upcoming new spot called Featured Studio Of The Week! Are you working on, or finishing up a project that our listeners would like to listen in on? Maybe you just recorded a track that's cooler than cool. We want to play it on the show! Get in touch with us and let us know about it! Crosstalk: Propellerhead announces Reason 3.0.5 for Intel Macs - Beta testers needed! http://www.PropellerHeads.se IK and Sonic Reality are offer free sounds for Reason���® -- Yes, you can download FREE Sonic Refills, demo patches and custom Combinator modules! Click here for the free Sonic Refills IK Multimedia announced that AmpliTube 2.0 is finally shipping. So, if you've ordered, keep your eye out for the big brown truck with goodies in it! http://Amplitube.com The Stupid Knob: Last week Mike announced the wacky but true statistic that every year, more people are injured in donkey related incidents than are injured in airplane related mishaps. It seems there may be more to it. Mike shares his insights. Gear Review: Matt Long from the Home Studio And Audio Review returns to review a very specialized piece of gear for trumpet players...the Yamaha PM7 Silent Brass System. Yamaha PM7 The System consists of the ST9 Personal Studio (the control unit), a Pickup Mute, a locking cable, and earphones. The step-up ST5 Silent Brass Performance Studio adds an array of effects plus practice tools. Spotlight: Trent Reznor (NIN - Nine Inch Nails) has been, and still is, giving away master multitrack sessions for two of his songs for you to remix / reinterpret / destroy or whatever. The Hand That Feeds GarageBand Format Only Trent Reznor Only GarageBand, Ableton Live, Pro Tools and Sony Acid Click here to download the multitrack masters! Answer To Last Week's Trivia Question: Q: What was the first commercial music CD released in the US that was also manufactured in the US? All CDs sold in the US previously had been import titles pressed for overseas labels. (These were still manufactured overseas, but for US labels.) A: According to the Tenth Anniversary of The CD supplement to the September 26, 1992 issue of Billboard Magazine, it was the September 1984 release of Bruce Springsteen - Born In The USA. This Week's Trivia Question: Q: Besides John Lennon, Paul McCartney, George Harrison and Ringo Starr, what two other people were once members of The Beatles? See you next week! Tags: music recording studio home studio mixing trent reznor nin nine inch nails garageband buck ownens amplitube dwight yokum bakersfield sound propellerhead act naturally i've got a tiger by the tail bridge over troubled water paul simon frappr digidesign protools bob dylan love minus zero catch the wind no limit nashville reason combinator subtractor malstrom yamaha pm7 silent brass intel mac ik multimedia sonic reality sonic refill rex loops the hand that feeds ableton live sony acid bruce springsteen born in the usa John Lennon paul mccartney george harrison ringo starr the beatles