Podcasts about American Bandstand

Book Vs. Movie: HairsprayThe 1988 John Waters Movie Vs. the 2007 Adaptation“Musicals in March”The Margos continue their look at “Musicals in March” with the John Waters classic Hairspray, which started with the 1988 movie starring Rikki Lake, Divine, and Debby Harry. Based on his experiences of being a fan of the 1957-1964 Baltimore teen dance TV program--The Buddy Deane Show, Waters was a huge fan of R&B music. On the Buddy Deane show, the dancers were integrated, unlike Dick Clark's American Bandstand, which was based out of Philadelphia at the same time. Baltimore Magazine April 1985 by John Waters "Ladies & Gentleman: The Nicest Kids in Town!”Being a self-described “Super Fan” of the show, the director has a well-known career as an avant-garde-loving and bizarre artist who loves things that are in bad taste. His interest in something as wholesome as Buddy Deane made him think about writing a more accessible film about a group of teen dancers/local TV stars who fight racism and oppression with their love of music and dance. Given a modest budget of $2.8 million, the film was a box office hit, and the critics loved this new era of John Waters with even bigger hits in the 90s Cry-Baby & Serial Mom. Waters continues to write and direct his work and is very popular as an actor who appears in everything from Law & Order to The Marvelous Mrs. Maisles. In 2002, the musical version premiered in Seattle with music and lyrics from Marc Shaiman and Scott Wittman and the book by Mark O'Donnell and Thomas Meehan. Hit is not a big enough word for this adaptation's success in the 2000s. It won eight Tony Awards (including Best Musical) in 2003 and broke all box office records in London's West End in 2008. The 2007 movie was directed by Adam Shankman and stars John Travolta, Michelle Pfeiffer, and Christopher Walken and continues the big box office that started with the original 1988 film. What are the differences between the original and the latest version of the story of the AMAZING Tracy Turnblad? Which do we like best? Have a listen!In this ep the Margos discuss:John Waters, Divine, and BaltimoreWaters ventures into more “family-friendly material.”The music used in both films1988 cast: Ricki Lake (Tracy Turnblad,) Divine (Edna Turnblad,) Debbie Harry (Velma Von Tussle,) Sonny Bono (Franklin Von Tussle,) Jerry Stiller (Wilbur Turbland,) Leslie Ann Powers (Penny Pingleton,) Colleen Fitzpatrick (Amber Von Tussle,) Michael St. Gerard (Link Larkin,) Clayton Prince (Seaweed Stubbs,) Cyrkle Millbourne (L'il Inez,) Ruth Brown (Motormouth Maybelle,) Shawn Thompson (Corny Collins,) Mink Stole (Tammy Turner,) and Josh Charles as IggyThe 2007 cast: Nikki Blonsky (Tracy Turnblad,) John Travolta (Edna Turnblad,) Michelle Pfeiffer (Velma Von Tussle,) Amanda Bynes (Penny Pngleton,) Christopher Walken (Wilbur Turnblad,) Queen Latifah (Motormouth Maybelle,) James Marsden (Conry Collins,) Brittany Snow (Amber Von Tussle,) Zac Efron (Link Larkin,) Elijah Kelley (Seaweed,) Allison Janney (Prudence Pingleton,) and Jerry Stiller as Mr. Pinky.Clips used:Hairspray (1988) “Corny Collins auditions.”Hairspray (1988) trailerThe Von Tussle house (1988)John Waters as Dr. FredricksonThe kids meet “Beatnicks” (1988)Hairspray (2007) trailerJohn Travolta's Baltimore accentEdna & Wilbur “You're Timeless to Me”“You Can't Stop the Beat” (2007)Music: Hairspray by Rachel SweetBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #22, which aired on March 11th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #21, which aired on March 4th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #20, which aired on February 25th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

Philadelphia is known as the original home of American Bandstand. But Dick Clark packed his bags and skipped town as fast as he could. For years, dancing was dead in the city of brotherly love. That is until the debut of the area's longest running reality tv show in Philly history. Join us as we strut our stuff with Madonna, Fresh Prince, The New Kids, and all the beautiful people at Dancin' On Air.

Tierra Legacy is run by band leader David Salas who's father (Rudy Salas) and uncle (Steve Salas) founded it's predecessor band, Tierra, in the early 70's. Rudy and Steve passed due to Covid in 2021 and 2022, respectively, and the Salas family decided to continue their incredible music legacy. Tierra's long and storied career spans generations and includes chart topping national and international hits. The band was named “Best R&B Vocal Group” by four leading magazines including Billboard in the early 1980's. They started their career in East Los Angeles with a blend of rock, pop, jazz, R&B and salsa. The result was an infectious Latin/ R&B rhythm that produced classic songs like “Together”, “Gonna Find Her”, “Memories”, “Hidden Tears” and “Zoot Suit Boogie”. Tierra was the first Latino band to have four songs on national charts and two simultaneously in the Top 100. They have performed in such prestigious shows such as Carnegie Hall, The American Music Awards, American Bandstand, and The Dorothy Chandler Pavilion. Tierra is survived by The Tierra Legacy which consists of new, original and former Tierra members and the Salas family. The Tierra Legacy lives on in the hearts, minds and blood of this dynamic and unforgettable band.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #19, which aired on February 18th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

Join Disney's Ike Eisenmann, and author, Jonathan Rosen, as they chat with former teen idol, Tony DeFranco of the singing group, The DeFranco Family!Tony discusses how the family got its start in singing, being a teen idol and appearing on magazine covers, performing on American Bandstand with Dick Clark, and much more!

Join Disney's Ike Eisenmann, and author, Jonathan Rosen, as they chat with former teen idol, Tony DeFranco of the singing group, The DeFranco Family!Tony discusses how the family got its start in singing, being a teen idol and appearing on magazine covers, performing on American Bandstand with Dick Clark, and much more!

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #18, which aired on February 11th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #17, which aired on February 4th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #16, which aired on January 28th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #15, which aired on January 21st, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #14, which aired on January 14th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

Recording artist Jimmy Clanton performed on Dick Clark's American Bandstand. And he was with Clark's Caravan of Stars national tour Nov. 22, 1963 in Dallas, Texas. That Friday evening show had to be canceled after President John Kennedy was assassinated that afternoon. He toured with Jerry Lee Lewis, Fats Domino, Ray Charles, Chuck Berry, and many others. He wrote and recorded his biggest hit, which sold over a million copies. His autobiography is titled “Just a Dream.” I'm sure you remember some of his many hits.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #13, which aired on January 7th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #12, which aired on December 31st, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

I don't know about you, but this time of year always reminds me of Dick Clark. This week on RITY, I pay tribute to America's Oldest Teenager by featuring several of his interviews from American Bandstand. The interviews are, of course, paired with music. For more info on the show, visit reelinwithryan.com

Episode 196: American Timelines 1957, Part 4:  July & August 1957:  A Pageant Scandal & A Football Player Murderer & Bret The Hitman Hart History for Jerks dives into July and August of 1957, where we have a hitman born, Paul and John meet, a future astronaut sets a speed record, a pageant scandal, a college football murderer, a comedy legend dies, a fan gets hit by two foul balls at the same at bat and more! Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include: slam wrestling magazine, andmeetings.com, beatles bible, history.com, ESPN, thatballsouttahere.com, Popculture.us, Wikipedia, TVtango, IMDB & Youtube.  Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!

Happy (almost) New Year, Slackers!For much of our lives, "Dick Clark's New Year's Rockin' Eve" was THE show to watch on New Year's Eve. As we are 10 years removed from his passing, I wanted to take some time to remember Dick Clark.From 1945 through 2007, Dick Clark was on the air - first on radio, then on television for almost 50 years! With notable shows like "$100,000 Pyramid", "TV's Bloopers and Practial Jokes", and the 35 years of "New Year's Rockin' Eve, (only eclipsed by the remarkable 37 year run of "American Bandstand"), he was part of the collective consciousness of 4 generations. Here's to America's Oldest Teenager!Subscribe today!

This person died 2012, age 82. He was among the most recognizable faces in the world. He built an entertainment empire, which expanded into game shows, awards shows, comedy specials, talk shows, children's programming, reality programming, and movies. His signature show had remarkable longevity and became a cultural touchstone for the baby-boomer generation. He was the perpetually youthful-looking television host of American Bandstand and New Year's Rockin' Eve. Today's dead celebrity is Dick Clark.   Transcript of this episode New York Times Obituary for Dick Clark Famous & Gravy official website Dead or Alive Quiz Game Follow Famous & Gravy on Twitter, Facebook, LinkedIn New Year's Rockin' Eve December 31, 1999 (millennium) New Year's Rockin' Eve December 31, 2001 (post 9/11) Dick Clark interviews Prince on American Bandstand David Spade as Dick Clark's receptionist on SNL SNL spoof of $25,000 pyramid From Rock to Disco to Hip Hop with Dick Clark article from Slate “Dick Clark: Eternally Light” article from The New Yorker HPB.com

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #11, which aired on December 24th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

The Ladies of SKYY have the distinction of being the last sister-trio still performing together in classic entertainment. Denise, Dolores and Bonné Dunning are the original female vocalists who provided the sensual signature sound of the R&B band SKYY. The sisters joined forces with Solomon Roberts, Jr. (producer, songwriter, drummer, guitarist), Anibal “Booche” Sierra (lead guitarist), and Gerald Lebon (bassist) in 1979. SKYY set themselves apart from other bands of that time with their space-age inspired costumes and a Brooklyn inspired sound. SKYY recorded ten albums and performed on several tours with A-list artists between 1979 and 1993 under Salsoul, Capitol and Atlantic Records. They appeared on numerous television shows, including Soul Train, American Bandstand, Showtime at the Apollo, Solid Gold and BET'S Video Soul with Donny Simpson. They also appear in a commercial for Schlitz Malt Liquor with the Drifters. Their music can be heard in the soundtracks of two movies, “Action Jackson” and “Beauty Shop.” Their biggest chart position was achieved in 1982 when the Salsoul Records album “SKYYLINE” was certified gold and reached #1 album status on the R&B charts and #18 on the Pop charts. SKYY's legacy was chronicled in their TVOne Unsung episode which aired on March 15, 2020, the day the world stood still. The show highlighted the group's top hits, Call Me, Start of a Romance, Let's Celebrate, Here's To You and Real Love, and was a sentimental reminder of the impact their career had on their fans during that magical musical era of the 80's and 90's. After SKYY recorded its final album in 1992, the sister-trio emerged as Ladies of SKYY. For over four decades, their dynamic vocals and captivating stage shows have upheld the legacy of the band's funky and infectious sound, keeping their music alive in the hearts and souls of their fans. These ladies have bridged the gap between generations of music lovers and their longevity has earned them their rightful place among the founding females of the disco, dance, soul, funk, hip hop and R&B musical genres. Salsoul Records will Re-Release of SKYY's Classic Album SkyyLine on January 20th 2023.    Salsoul Records recently launched the Disco Essentials vinyl series, re-introducing the classic hits from its catalogue of soul, disco, and funk artists that listeners grew to love from the 70s and 80s. Originally released in 1981, SkyyLine was the Brooklyn- based group's fourth album.  Hit singles include ‘Let's Celebrate,' ‘When You Touch Me,' and the mainstream success, ‘Call Me' (which came in at number one on the US Billboard Black Singles and number three on the US Billboard Hot Dance Music/Club Play charts).    The Ladies of SKYY believe that the re-release of the album, SkyyLine, will introduce a new audience to the Funk/ R & B sounds that have heavily influenced both club and hip-hop, bridging the gap between generations of music lovers. In celebration of this momentous occasion, the remaining original members of SKYY are set to unite for a reunion concert for one night only, produced by AKW Enterprises in New York City.  SkyyLine will be available January 20,2023 on a limited-edition purple fog vinyl with Salsoul Records obi-strip! Pre-orders will be available on Amazon and at Indie Stores across the USA.  “It is an honor and privilege to have the opportunity to re-introduce SKYY to the world and introduce SKYY and The Ladies of SKYY to a new generation.”- Austin Kwame Wilkinson, AKW Enterprises. The band recently announce the SKYY Reunion Concert in New York City at the Cutting Room on February 25th 2023. Connect with the Ladies of SKYY online: website: ladiesofskyy.com Facebook: Ladies of SKYY Instagram: @theofficialladiesofskyy YouTube: Ladies of SKYY Music: SKYY Email: contact@ladiesofskyy.com You can support Bring Back Soul Music in 3 ways: CashApp… https://bit.ly/30ps5cT Patreon… https://bit.ly/3vyWVvr Buy Me A Coffee: https://bit.ly/2Z1JfwZ ________________________________________ Check out Merch at ‘The Soul Shop' https://bit.ly/3aIS7df For more information and news, check out our website and on social media: Web: www.BringBackSoulMusic.com Facebook: /BringBackSoulMusic2019 Instagram: Instagram.com/bringbacksoulmusic2019 ​​ Twitter: https://twitter.com/BringBackSoulM1__… YouTube: https://www.youtube.com/bringbacksoul… Bring Back Soul Music Playlist on Spotify: https://spoti.fi/3ah9eWz

It's time for “Pop's Pop on Pops on Hops!” Barry, Abigail, and special guest Barry Hummel, Sr. (Barry's pop and Abigail's pop-pop) discuss A Christmas Album by The Platters and sample three Christmas beers: Merry Monkey from Victory Brewing Company in Downingtown, Pennsylvania; St. Nikolaus Bock from Penn Brewery in Pittsburgh, Pennsylvania; and Kentucky Bourbon Barrel Peppermint Porter from Lexington Brewing & Distilling Co. in Lexington, Kentucky. Barry put in a plug for A History of Rock Music in 500 Songs' Episode 31: “Only You” by the Platters. Barry, Sr.'s favorite song by The Platters is My Prayer, as canonized in our series of Hummel family favorites albums. (His favorite Christmas song is The Greatest Gift of All by Kenny Rogers and Dolly Parton.) Barry loves The Beach Boys' version of Auld Lang Syne. The Platters included a version of For Auld Lang Syne on their original Christmas record. The Platters appeared multiple times on American Bandstand, music-performance and dance television program that aired in various versions from 1952 to 1989. Watch their Bandstand performance from 1959 and their Bandstand interview from 1967. Up next… Xanadu by ELO, submitted to our Virtual Jukebox by Greg Jong of The Procession. This episode will be released on March 3, 2023. Jingles are by our friend Pete Coe. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://anchor.fm/pops-on-hops-podcast/message

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #10, which aired on December 17th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #9, which aired on December 10th, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

Radio Host, G.L.O.W. Wrestler, And Playboy Centerfold Model#glow #wrestling #playboy #model #author Patricia Summerland attended Crescenta Valley High School where she lettered in track and field. Patricia began her modeling career in 1979. Some of her first big gigs were modeling for Catalina swimwear catalog's, and Jordache jeans. In 1981 Patricia had her first chance at stardom dancing on American Bandstand with Dick Clark. Patricia attended Glendal Community College and received an associates in Business. Patricia also became a certified drug and alcohol counselor. By the time she auditioned for "GLOW" in 1987 at 20 years old, she was a self-described "beach girl," actress and Catalina Swimwear model whose wrestling-loving father convinced her to send in her head shot to a television casting request. She later went on to wrestle as Sunny The California GLOW Girl which was one of two actresses that portrayed this character. She also appears in Playboy alongside the members of the rock band KISS.Radio Show: https://theanswerorlando.com/Instagram: https://www.instagram.com/patriciasummerland/Facebook: https://www.facebook.com/patrisha.summerlandLinkedin: https://www.linkedin.com/in/patricia-summerland-59075345/Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteAnd Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehabDrew Lee Nicholas of DN-TV:  https://www.youtube.com/channel/UC8TVqL9mn6NzPkXOLOZSX-A

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #8, which aired on December 3rd, hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

Music historian and former host of NPR's Rock & Roll America, Richard Aquilanew book, ROCK & ROLL IN KENNEDY'S AMERICA: A CULTURAL HISTORY OF THE EARLY 1960s (November 2022; Johns Hopkins University Press)https://www.amazon.com/Rock-Roll-Kennedys-America-Cultural/dp/1421444984Edwin Waldhttps://waldaudio.com/newest audiobook, "After Woodstock," also by Elliot TiberNational Geographic historian Jean-Pierre Isbouts, coauthor of MAPPING AMERICA: The Incredible Story and Stunning Hand-Colored Maps and Engravings that Created the United States. His books have sold over 2 million copies. For more information, visit: www.jpisbouts.org.Richard Aquila is a professor emeritus of history and American Studies at Penn State University and the former host of NPR's Rock & Roll America. He is the author of The Sagebrush Trail: Western Movies and Twentieth Century America and Let's Rock!: How 1950's America Created Elvis and the Rock & Roll Craze. In his new book Rock & Roll in Kennedy's America: A Cultural History of the Early 1960s,, Richard offers a fresh look at the early 1960s through the prism of rock & roll and revisits all the memorable hits and misses heard on American Bandstand and Top 40 radio stations across the country. https://www.press.jhu.edu/books/title/12480/rock-roll-kennedys-americaEdwin Wald is a veteran actor, director, designer, composer, voice and dialect coach who has performed in more than one hundred theatrical productions. As a voice actor, he has also brought to life many characters for the renowned Kathy Burks Theatre of Puppetry Arts, and Dallas Puppet Theatre. Edwin became the voice of Elliot Tiber for the new audio book of Elliot's final memoir, After Woodstock. He is a proud member of SAG-AFTRA and Actors' Equity Association. https://waldaudio.com/Prof. Jean-Pierre Isbouts is a best-selling National Geographic historian whose books have sold over 2 million copies, including The Biblical World, In the Footsteps of Jesus, and The Ultimate Visual History of the World. His lectures are featured on Wondrium and The Great Courses. He is co-author of Mapping Amercia: The Incredible Story and Stunning Hand-Colored Maps and Engravings that Created the United States. https://www.jpisbouts.org/--------------------------Frankie Boyer is an award winning talk show host that empowers listeners to live healthy vibrant lives http://www.frankieboyer.com

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #7, which aired on November 26th. Hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #6, which aired on November 22nd. Hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

You can hear "Your Day of Destiny" on Saturday mornings at 7:00 on The Game. This is episode #4, which aired on November 5th. Hosted by Michael-John Toste, an International Destiny coach, Futurist, International Recording Artist, Radio personality and author of two books. For over two decades Michael-John has advised professionals, including athletes, celebrities, executives, and visionaries on their journey to fulfill their destiny. Throughout his musical career, he has worked alongside legendary recording artists and achieved two Billboard Top-100 hits, with performances internationally broadcast via television and radio to over 35 millions viewers on such popular national television shows as American Bandstand with Dick Clark, Solid Gold, MTV and has performed live at Madison Square Garden in New York City. He produced a major Washington DC Tribute event in 2002 one year after the Terrorist Attack and encouraged Pentagon families with a major ceremony of remembrance for their loved ones, featuring Muhammad Ali, Randy Travis, Roberta Flack and 17 Olympians from the 2002 Winter Olympics. Michael-John's popular radio show, "Your Day of Destiny'," provides unconventional insights for successfully navigating these challenging times. The Prophetic Matrix book series written by Michael-John, launches the reader into a life of unlimited possibilities and a new dimension of personal fulfillment.

Episode 136: #OnTheStacks in the blu door studio with Bobby Arvon & Lorenzo Medico. Early in Bobby's music career he was told by an agent that he didn't have a recording voice. As a singer/songwriter, he later went on to become a Billboard Hot 100 recording artist, leading to many TV appearances, notably Dick Clark's American Bandstand, The Merv Griffin Show and more. You may also recognize Bobby's voice from the lead on the theme song of one of the most popular American television sitcoms, "Happy Days." Wanting to get back to his Scranton Pennsylvania roots, Bobby met Lorenzo through a mutual friend. As a performer, entrepreneur, and owner of ARTIC Entertainment, Lorenzo found a way to connect the dots between Bobby and fellow Scranton native, Marko Marcinko, to put together a live, one night only show, titled "Bobby Arvon with Marko Marcinko & the SJF Big Band featuring Lorenzo Medico." The show will be held on December 4th at the Kirby Center for the Creative Arts at Wyoming Seminary in Kingston PA. This is Lorenzo's first live production with his company, ARTIC Entertainment. Short for Art in community, his company is focused on promoting, producing and cultivating the film, live music, and theater arts industry in Northeast Pennsylvania. Want to watch this episode? Tap here! Please enjoy! This episode is brought to you by the following sponsors: Ricci Security Solutions. #OnTheStacks HQ is protected by Ricci Security Solutions. To secure your home or business, call 570-735-7500. Cavanaugh's Grille. Mention Code STACKS for 1 FREE draft beer with purchase of any entrée when you dine at! 163 North Main St., Mountain Top, PA 18707. The Pest Rangers. Finding insects in your home can be a real pest! Rid your home today from those unwanted creepy crawlers. Visit The Pest Rangers on the web! Brrrn. Get 15% Off at BRRN with code STACKS15 at checkout! blu door Financial helps you save money and reduce taxes to live a fuller financial life. To learn more, visit blu door Financial on the web! Engage with us on social media: Instagram, Facebook, LinkedIn, or visit us on the web!

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. 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 this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

            This week – the finale of our epic 3-part series on The ‘60s!  It's a show chock full of highlights… Van Morrison explains how “Brown Eyed Girl” almost got banned from the radio Neil Sedaka talks about the creation of “Breaking Up Is Hard To Do” Gene Pitney on writing one of the ‘60s biggest hits, touring with the Dick Clark Caravan of Stars and hanging with The Stones Dick Clark talks about the early days of American Bandstand and how the idea of watching “teenagers dance on TV” was a hard sell to the station owners Frankie Valli explains how Clark Gable inspired one of the Four Seasons' biggest hits The Hollies on how they got their name and their first taste of international fame. Blood, Sweat & Tears talk about playing at Woodstock – and why their performance wasn't included in the movie Freddy Cannon – on how one of his concerts was interrupted by a bunch of stampeding horses. Connie Francis talks about the moment her life changed forever Tom has a great chat with Felix Cavaliere of The Rascals The legendary Sylvia Tyson explains how the music of “Ian & Sylvia” holds up Carole King talks about the extraordinary gift of her songwriting partner, Jerry Goffin Lulu talks about landing the role (and title song) for “To Sir With Love” Interview clips with Paul Revere & The Raiders, The Shirelles, The Byrds, Procol Harum, The Fifth Dimension, Moody Blues, Del Shannon, The Impressions and Bobby Vee. Plus – how an Aretha Franklin recording session almost devolved into a fistfight. Famous Lost Words, hosted by Christopher Ward and Tom Jokic, is heard in more than 100 countries worldwide and on radio stations across Canada, including Newstalk 1010 Toronto, CJAD 800 Montreal, 580 CFRA Ottawa, AM 800 CKLW Windsor, Newstalk 1290 London, 610 CKTB St Catharines, CFAX Victoria, AM1150 Kelowna and 91x in Belleville.

* The photo on the left is of a great Fresno garage band called "The New Life."  The group toured nationally and appeared on "American Bandstand." PLAYLIST:00:00 | DJ | DICK LEE AND THE ICEMAN00:28 | WHAT I'D SAY | THE BRYMERS01:13 | FIT ME IN | BRYMERS02:51 | BLACK MAGIC WOMAN | SANTANA06:26 | NEED SOMEBODY TO LOVE | JEFFERSON AIRPLANE08:25 | KALEIDSCOPE | KALEIDSCOPE12:22 | ME AND BOBBY MCGEE | JANIS JOPLIN16:19 | CHINA GROVE | DOOBIE BROTHERS20:11 | PRIDE OF MAN | QUICK SILVER MESSENGER SERVICE24:01 | SACRIFICE | BRYMERS26:41 | DANCE OF THE PEASANTS | CANTERBURY FAIR29:48 | INTERVIEW | KIRK POOLE (BLOODWORTH)37:06 | BOOGITY BOOGITY ZITS | BLOODWORTH41:08 | I'M A GOOD WOMAN | COLD BLOOD44:40 | SHADES OF GREY | SONS OF CHAMPLIN48:27 | SUMMERTIME BLUES | BLUE CHEER51:56 | I'M A JOKER | STEVE MILLER BAND54:42 | WALKIN | CHARALATANS57:11 | BORN ON THE BAYOU | CCR59:27 | HOLD ON I'M COMING | BRYMERS"Dick Lee and 60's Garage Rock from California" is a weekly one hour show that features great California Garage Rock along with the hits of the day. The show can be heard on KOOL 100.7 FM-Saturdays-12:00 noon (PST-Hanford, CA), Amsterdam International Radio, WYML 99.9 FM (Chicago), M.A.D. FM - New Zealand, Replay Radio FM (U.K.), Way Out Radio FM (U.K.), Experience FM 103.9 ( Indianapolis), 60's Chart Busters (Cyprus), KCEG (N.D.), Supreme VIB-Z Radio (Jamaica), So Faking Radio (Arizona), KOGY 95 FM-Hawaiian Pacific Radio, The Rock 97.3 (Morro Bay, CA), Atlantic Radio FM (U.K.), Riot Radio (Maryville, IL), Black Hole FM (Milford, CT.), Community Radio-Long Island, (N.Y.), KEWL 98 FM (New Jersey), Akaroa World Radio-90.1 FM (New Zealand), FAB Radio Internation (Manchester, England), Classic Rock XL, (Ontario, Canada), Northern Pirate Radio (U.K.), HD Radio Network, (Dealfield, Wisconsin), KHJ FM 105.3 (Albany, Oregon), Canal Side Radio, (U.K.), Remember Then Radio (U.S.) WRTR(Tuscaloosa, Ala), Sixties City Garage Rock, (U.K.), 57 Chevy Radio (U.S.), NWCZ Radio (Seattle-Tacoma), WCNX 1710 AM (Middletown, CT), KRYZ 98.5 FM (Mariposa, CA), WCSQ 105.9 FM (Cobleskill, NY), Brill 1449 Radio (U.K.), WZPH Radio (Dade City, FL), SG1 Radio (U.K.), Radio Flawless (New York), KWRH (St. Louis, MO), KWCZ (Seattle, WA). KITZ (Gilchrist, OR), KNCP (LA Pine, OR.), KZSR (Paso Robles, CA.) KOWS Radio (Sonoma County/Santa Rosa, CA), Heat FM Radio (NY), Griffiti Radio (U.K.), Bay and Basin 92.7 FM-Australia, ZANJ Radio (Jamaica), Dusty Discs Radio (B.C., Canada), The Phoenix Radio Network (U.K.), KCIW 100.7 FM (Brookings, OR), Q95 Oldies (S.C.), KALH Radio (N.M.), KSHD-FM, (OR), Mystery Train Radio (U.K.), Drive-In-A Go-Go Radio (Ontario, Canada), E.K FM Radio (U.K.), Rebel Radio (U.K.), GR8 Chats Radio (U.K.), Thunder Radio Canada (Ontario, Canada), Total Mixx Radio (Virginia), Veterans Family Radio (U.K.), KSVB 91.4 FM (Big Bear, CA), Destiny Radio (U.K.) Fantasy Radio (U.K.), Curve Radio (U.K.), Beatz Radio (Bangladesh), Ambron Radio (U.K.), Curve Radio (U.K.), Fantasy Radio (U.K.), Ohio Broadcast Network (Columbus, OH), Solar FM (U.K.), Sho Off Radio (U.K.), Max Radio (N.Y.), On Air Hits (TX), Sea Wall Radio (Galvaston, TX), Now Hits Radio (U.K.), Cruize Radio (Australia), Urban Essex Radio (U.K.), Corvette Retro Radio (Athens, Ohio), "HU 1 Radio" (U.K.), "Bulls Eye Radio" (New York), Cofton Radio (U.K.), Radio For Fun (Australia), Sanctuary Radio (Denver, CO), Mad Wasp Radio (U.K.), Kings FM Radio (U.K.), OwlTail.com, Cherokee Nation Radio, AKA Radio, (California), Madness FM Radio (U.K.), Global Community Radio (New York), iHeart Radio, Fish Creek Radio (San Antonio, TX), Chris Max Radio (N.Y.), Hot Tunez Radio (U.K.), QSKY Radio (New York), I.E. Radio (U.S. and U.K.), BHP Radio (U.K.), The Mix 96 FM (La, Ala, Ga, and the U.K.), Ken Versa's Power Hit Radio (Colorado), Radio Hawk (Cornwall, Canada), KMBY 95.9 FM (Monterey, Santa Cruz, Carmel), CABMZK Radio (U.K.), 70's Greatest Hits Radio (U.S.), KFOK Radio (Georgetown, CA), KINT 98 FM (El Paso, TX), Scream Radio (UK), A.M.R. Radio (Atlanta, GA), Seabird Radio (U.K.), Thames Valley Community Radio (UK), Arvada Rocks Radio (Colorado), Shore Shore Radio Blackpool (U.K.), KFOK 95.1 FM (CA), Peak Wireless Radio (U.K.), Your Radio (U.K.), KYXZ 107.9 FM (Grover Beach, CA), "Classic Rock XL" (McElmon Media Group - London and Ontario),  "Cool Vibes Radio (U.K.), 121 Radio (U.K.),  P.V.R. Radio (U.K.), My Mix 94.3 FM (St. Louis, MO), Sound Up Station NFSR (Osaka, Japan), Indie Radio Music (Madison, WI), "WNYC-DB New York City Oldies Radio365,"  "Oldies Radio104" (Belpre, Ohio), "Anghami Radio," "Audible Radio,"  and "Deezer Radio. "

When I was a little kid I watched American Bandstand because I liked the songs Dick Clark and company selected for his top hits it's what the kids want countdown. Based on what I heard, I walked downtown to Aub Schmidt's music store with a dollar in coins and bought a 45.Being a fan of vocal harmonies, Beach Boys and Four Seasonsy stuff, I heard this version of “I've Got Rhythm” by the Happenings. I had the honor of speaking with David Libert, the baritone and arranger of the Happenings a couple days ago and he said the stereo separation he did were copying the Mammas and the Papas strong stereo separation. As you'll hear in the following chat with David, I say no one invented anything from zero. So here it is, from Bruce's 45 collection, “I've Got Rhythm” and listen for the lead vocal on the left and the other Happenings happening on the right.David Libert had such a long and interesting career in the music business, his friends encouraged him to write a book about it…so he did. The result is an autobiography 50-plus years in the making aptly entitled Rock and Roll Warrior, recently released on Sunset Blvd Books. It's a chronicle of David's inner circle life in the music industry as a popular international performer, singer/songwriter, tour manager, booking agent, producer, and drug dealer on the Sunset Strip. It's a story so wild, so crazy, so over-the-top that it can only be true. He was Alice Cooper's road manager and knows as much about the business as anyong…so he wrote a book on his experiences.

HARRISON KENNEDY was awarded the 2016 “Blues Album of the Year” JUNO for his album “This Is From Here”.  This was the 6th nomination for the Hamilton, ON. based artist. Now comes his latest album Thanks for Tomorrow Harrison Kennedy was born and raised in Hamilton, Ontario.  His family had roots in New Orleans and Tennessee,[ Kennedy sang in the Stewart Memorial Church Choir as a boy, when childhood trips took him over the border to visit relations in Arkansas, Rogersville, Tennessee,[9] and Detroit, Illinois, United States, and all these experiences expanded his love of music.,  The other border his family crossed was the Canadian border. They decided to stay and live there. Harrison grew up in a house filled with music and famous visitors such as Duke Ellington, Billie Holiday, and Lonnie Johnson. In 1969 he took a hiatus from college to become a founding member of the million-selling Detroit Soul Super Group “The Chairmen of the Board” with whom he toured the world, as well as appearing on Soul Train, American Bandstand, and the Tonight Show with Johnny Carson. Harrison Kennedy has released almost a dozen internationally acclaimed albums and developed into one of the 21st century's most insightful and original Blues singer/songwriters. To quote my friend Tom Coxworth  For anyone not familiar with Harrison Kennedy, he has been nominated for 12 Maple Blues awards and 4 Junos and was touted by BB King as Canada's premier Blues performer We're going to talk to Harrison about his family, his spirituality and his music!!

Episode 234, “American Bandstand,” features 19 records featured on the famous after-school television program's first national season. Performers include Paul Anka, The Everly Brothers, The Chordettes, Chuck Berry, Jerry Lee Lewis, Simon & Garfunkel, Johnny... Read More The post Episode 234, “American Bandstand,” appeared first on Sam Waldron.