Podcast appearances and mentions of Barry Goldberg

In this episode, we invite the excellent Gene Sculatti to talk us through his career from Crawdaddy! magazine to the Atomic Cocktail radio show he still hosts at Luxuria Music. Commencing in San Francisco in the summer of 1960 — when Gene first heard Dion's 'Lonely Teenager' — we ask our guest about his lifelong love of surf music and the Beach Boys. From there we jump to his mid-'60s radio show "Blues and Such", then on to the first stirrings of the Haight-Ashbury scene he captured in a landmark 1966 report for Crawdaddy! ... and later in San Francisco Nights, the classic 1985 book he co-wrote with the late Davin Seay. Gene recalls his 1973 move to Los Angeles and his subsequent years as the editorial director of Warner Brothers Records in Burbank. We hear about the company's super-hip in-house publications Circular and Waxpaper, as well as about working under the legendary Derek Taylor. We also discuss his deep love of '80s dance-pop and his 1990 sleevenotes for Madonna's Immaculate Collection. The episode with clips from a 2012 audio with The Band's sainted keyboard genius Garth Hudson, who was lost to us on 21st January, and finally with quotes from Mark's and Jasper's favourite new additions to the RBP library. Pieces discussed: San Francisco Bay Rock, Mojo Navigator: Memories of Mojo, "Home Runs, No Bunts" — Solar Power On The Rise, Madonna: The Immaculate Collection, Barry Goldberg Interviews, Articles and Reviews, Barry Goldberg & Bob Dylan's Secret Gem, The World According to Garth Hudson, The Band's Garth Hudson audio, The Walker Brothers, Pop Eye: The New Jazz, Burt Bacharach, Derek Taylor, Sly & Robbie Come On Like Assassins, Wu-Tang Clan: One of These Men Is God, and Thundercat.

Label: Buddah 59Year: 1968Condition: MPrice: $12.00Credited to 'Barry Goldberg Reunion.' This essential garage/psych-rock nugget was Goldberg's only chart single, and this may be the nicest copy I've yet had in the store. Note: This beautiful copy comes in a vintage Buddah Records factory sleeve. It has Mint labels and pristine audio.

On this episode, Lauren is joined by the wonderful singer-songwriter, poet and fashion designer, Chase Cohl aka Dear Dear.Chase was introduced to music from a young age, spending much of her youth on the road with the Rolling Stones themselves.In 2018 she released her debut record 'Far Away and Gone'. After the  release of her 2021 Dear Dear: Volume I EP.  it became clear that this project was taking on a life of its own. This led to Chase shifting the entire project into the enigma of Dear Dear.As a result, in October last year, she released her debut Dear Dear album 'Death of a Fairytale'.  The wonderful 8 track record is co-produced by Loren Humphrey⁣ and co-written by Barry Goldberg (Bob Dylan, Ray Charles, Gladys Knight). The record plays with a neo-soul, motown sound, heavily influenced by the girl groups of the 1960s, yet is approached with a modern sensibility.Chase chats through the album track by track giving an insight intro the writing and recording process. ...-Find Chase Cohl on the Web | Instagram-Follow LP: Uncovered on Instagram

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

In the Arete Coach Podcast episode 1158 the "Heart and Soul of Chairing" host Severin Sorensen interviews Barry Goldberg, an executive coach, a leadership coach, an ICF PCC, a former Vistage chair, and founder of IB Goldberg. Our focus today is an update to the GROW model. Something Barry has reframed as the GROWTH model.  In the Arete Coach Podcast episode featuring Barry Goldberg, the evolution of the GROW model into the GROWTH model is the focal point. Goldberg, with his extensive experience in executive and leadership coaching, discusses the need for adaptive coaching methods. He elaborates on the original GROW model, as created by Sir John Whitmore, and comments it was designed for goal-setting and personal development, In Barry's improvement of the model, he introduces the GROWTH model, adding a T and H, which incorporates 'Time' and 'Help' to better suit various coaching scenarios. The podcast delves into the limitations of the original GROW model and the necessity for more comprehensive approaches in coaching. Goldberg emphasizes simplicity and versatility in coaching models, advocating for a balance between structured methods and flexible approaches. The addition of 'Time' and 'Help' in the GROWTH model aims to address practical needs in executive coaching, fostering ideation and strategy development. Goldberg also highlights the role of coaches as facilitators of growth, rather than directors. He underscores the importance of engaging in open, curious conversations, and empowering individuals rather than imposing solutions. This approach reflects the changing landscape of leadership and personal development, as coaching models evolve to meet diverse needs. The episode provides insights into the future direction of coaching models, emphasizing their applicability across different fields. Goldberg's discussion offers valuable perspectives for anyone involved in coaching, leadership, and personal development, showcasing the potential of the GROWTH model in facilitating effective and adaptable coaching strategies. If you liked this episode, you might also enjoy Arete Coach Podcast episode 1011, also with Barry Goldberg titled, "Embracing the Science of Coaching." The Arete Coach Podcast seeks to explore the art and science of executive coaching. You can find out more about this podcast at aretecoach.io. This episode was produced on December 20, 2023. Copyright © 2023 by Arete Coach™ LLC. All rights reserved.

A renowned guitarist and vocalist who has sold millions of albums. From 1995 on, he took seven singles into the Top 10, and holds the record for the longest-running album on the Billboard Blues Charts. He has been nominated for five GRAMMY Awards and has received two Billboard Music Awards, two Blues Music Awards, and two Orville H. Gibson Awards. In September 2008, Fender Musical Instruments Corp. released a Signature Series Stratocaster that he designed exclusively. In 2013 he, along with Stephen Stills and Barry Goldberg formed a band called The Rides. Throughout his career he has opened up for the likes of The Rolling Stones, Van Halen, Lynyrd Skynyrd, Aerosmith, Bob Dylan, and The Eagles. From television performances on The Tonight Show with Jay Leno to The Late Show with David Letterman to Jimmy Kimmel Live and Late Night with Jimmy Fallon to features in Rolling Stone, Vanity Fair, Maxim Magazine, Blender, Spin, USA Today and more, his musical career has been nothing short of phenomenal. He has a new album coming in November, with a new song coming each month between now and then.

The nightclub scene was magical in Chicago's South and West sides in the late 1950s and during that time, white kids from the suburbs were finding The Blues at the end of their radio dials, buying the records, studying the music and traveling down to the clubs to meet and play with their idols!That story is told in the new Bob Sarles film, Born in Chicago. We are joined by musician/bandleader Jimmy Vivino and Blues legend Barry Goldberg who, along with Mike Bloomfield and Paul Butterfield, learned his craft at the feet of Muddy Waters, Howlin' Wolf, B.B. King and Buddy Guy. Barry and Jimmy created the film's soundtrack and they are steeped in the history of Chicago Blues and loaded with stories and wisdom about class, race, inter-generational guidance and the joy of sharing and celebrating an art form that contains the power to transform us for the better.Barry and Jimmy give us a full account of the evolution of blues and blues rock from the '50s through today. Barry tells us about sitting in with Muddy Waters and Howlin' Wolf as a teenager and his frenemy relationship with the British invasion acts like The Stones and Eric Clapton who also idolized the Blues greats. He talks about playing in one of our nation's first racially integrated bands, Electric Flag and his experience on stage with Dylan when he “went electric” at the Newport Folk Festival.Jimmy and Barry describe composing the documentary's soundtrack & more and the blues standards that informed their musical choices.Plus, Fritz and Weezy are recommending Shiny Happy People: Dugger Family Secrets on Prime and Fair Play on Hulu and Prime.Path Points of Interest:Born in ChicagoBorn in Chicago - IMDBQ&A with Directors in Chicago ReaderBorn in Chicago on FacebookJimmy VivinoJimmy Vivino on WikipediaJimmy Vivino on InstagramJimmy Vivino on FacebookBarry GoldbergBarry Goldberg on WikipediaBarry Goldberg on imdbShiny Happy People: Dugger Family SecretsFair Play - Prime/Hulu

Barry Joseph Goldberg is an American blues and rock keyboardist, songwriter, and record producer. Goldberg has co-produced albums by Percy Sledge, Charlie Musselwhite, James Cotton, and the Textones, plus Bob Dylan's version of Curtis Mayfield's "People Get Ready". barrygoldbergmusic.com http://markhummel.com

Sam Paddor and Barry Goldberg discuss his experience playing when Dylan went electric, playing with blues legends including Muddy Waters and more.Barry Goldberg's Website:barrygoldbergmusic.comMy Back Pages Website:mybackpages.org 

Show #1000 The GRAND Show 01. Cuby+Blizzards - Just for Fun (2:48) (Desolation, Philips Records, 1966) Part of BB#30 with Beardo - February 2004: 02. Shane Henry - The Bitter End 03. Walter "Wolfman" Washington - Out Of The Dark 04. Curtis Salgado - Strong Suspicion 05. Richville - Gotta Let You Go (2:46) (Raw, Tub Thumper Records, 2021) 06. Gigantjes - Comes Love (4:05) (Royal Giants, Mercury Records, 1992) 07. Fat Harry & the Fuzzy Licks - Silicon Woman (3:05) (Hard Lovin' Man, Continental Record Services, 2012) Beardo's section of BB#103 - July 2005: 08. Chicago Blues Reunion - New Truck 09. Mother Earth - Down So Low 10. Barry Goldberg (and Mike Bloomfield) - ??? 11. Nick Jameseson (and Butterfield) - When The Blues Comes Callin' 12. Big Blind - Like Me (3:43) (Circus Left Town, Cool Buzz Records, 2009) 13. The Veldman Brothers - Real Deal (4:49) (Livin' By The Day, self-release, 2014) 14. Livin' Blues - Waitin' On You (2:44) (Hell's Session, Philips Records, 1969) Part of BB#130 with Beardo - February 2006: 15. Paul Mark & the Van Dorens - The Secret To My Success 16. Frank Zappa - Stinkfoot 17. Barbara Blue - Bag Of Bones 18. Cuban Heels - Gritbag (2:38) (Gritbag, Cool Buzz Records, 2011) 19. Arthur Ebeling - Simple Man (1:58) (Simple Man, Dureco Records, 1993) 20. Detonics - Mr. Barber (2:12) (Raise Your Bet, Naked Productions, 2018) Part of BB#200 with Beardo - July 2007: 21. Hamilton Loomis - He Got A Key (Just Gimme One Night) 22. The Wingnut Adams Blues Band - The Funk (Tub Thumpin') 23. John Nemeth - She Did Not Show (Magic Touch) 24. Grant Lyle - Broke Down Engine (Retronym by William McTell) 25. Twisters - She's Krazy (After The Storm) 26. Free Lance Band - Hit Or Miss (3:32) (Rough 'n Tough, Red Bullet Records, 1980) 27. Jim Wake & Sleepwalker - Don't Wake Me Up Until I'm Sober (2:40) (Preaching To The Perverted, self-release, 1999) 28. Jan Akkerman - Green Onions (3:15) (Talent For Sale, Imperial Records, 1968) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Troy Gentile joins us to talk about Mini Murray!In this episode we discuss how Troy became Barry Goldberg, his audition process, the meaning of 1980-something, a mystery phallice, cancellation, and if he ended up with Lainey Lewis.Thanks for listening! If you have any questions, or comments, email us at: thegoldbergsrewind@gmail.comFollow us on instagram @thegoldbergsrewindHosts: Cory Lorenzen, Vern Davidson, and Jem ElsnerProduced by: Emily ElsnerMusic by: Michael Tavera

The weather is warming up and so are the tunes here on Catching A Wave! We hear a track from The Chantays from an album celebrating it's 60th anniversary in our Good Time segment. Beth Riley has a deep track from The Beach Boys in her Surf's Up: Beth's Beach Boys Break. You're The Inspiration returns as we hear Jan & Dean covering The Beach Boys (with The Beach Boys backing them and adding BGV's) and The Beach Boys covering Jan & Dean! As always, we'll drop a coin in the Jammin' James Jukebox to hear our selection of the week!! Plus, we've got tunes from Brian Wilson, The Bayonets, Los Dedos, The Rides, GA-20, Beach Towels, Mark Malibu & The Wasagas, Royal Fingers, Now That's What I Call Surf, The Krontjong Devils, Stein and The Compartmentalizationalists!   Intro music bed: "Catch A Wave"- The Beach Boys   Stein- "Grand Canyon" The Compartmentalizationalists- "Golden Youth" The Bayonets- "Argentina" Now That's What I Call Surf- "You Oughta Know" The Krontjong Devils- "Botas (Boots)"   "Good Time" segment: The Chantays 60th Anniversary of Pipeline (1963) The Chantays- "Runaway"   Royal Fingers- "Go Royal Fingers Go" Mark Malibu & The Wasagas- "Fireball 407"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "I'll Bet He's Nice" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Beach Towels- "Warmest One" (Mono mix) Brian Wilson- "What Love Can Do" The Rides (Kenny Wayne Shepherd, Stephen Stills, Barry Goldberg)- "Search And Destroy"   You're The Inspiration segment: Jan & Dean- "Surfin'" (with backing by The Beach Boys) The Beach Boys- "The Little Old Lady From Pasadena"   Jammin' James Jukebox selection of the week: The Knights- "Hot Rod High"   GA-20- "By My Lonesome"   Outro music bed: Eddie Angel- "Deuces Wild"

Ray Padgett is writing a new book that compiles 50+ interviews with musicians and others who've been involved with Bob Dylan's live shows. It's called Pledging My Time, and there is a pre-release Indiegogo campaign running that allows you to pre-order the book and take advantage of special bonus offers. The campaign runs through December 16, 2022 so we talked with Ray to learn more about the book, about the campaign, and to find out what he's learned talking to all these Dylan insiders. Who's in the book?: Jim Keltner, Winton Watson, Benmont Tench, Larry Cambell, Stan Lynch, Early Sound Crew (David Robb, Keith Dircks, Fuzzy Frazer), Billy Cross, Richard Fernandez (Tour Manager), Christopher Parker, John Wurster, Ray Benson, Dickey Betts, Jeff Bridges, Harvey Brooks, Gary Burke, Marshall Crenshaw, Karl Denson, Leslie Dowdall, Ramblin' Jack, Kinky Friedman, Freddy Koella, Barry Goldberg, Spooner Oldham, Michael 'Soy Bomb' Portnoy, Duke Robillard, Fred Tackett, Richard Thompson, Happy Traum, and more. Ray talked with us in Episode 03 about the cover songs made from Time Out Of Mind. He runs the Cover.Me website which reviews and discusses all kinds of cover song performances, and he's published two earlier books, one Cover Me that take a deep dive into twenty of the most iconic cover songs in history (including All Along The Watchtower and Make You Feel My Love), and a 33 1/3 book on Leonard Cohen's tribute album called I'm Your Fan. Ray also runs a must-have Dylan email newsletter called Flagging Down The Double E’s. The newsletter does deep dives into legendary Dylan live shows, and has published some of the musician interviews that will be included in Pledging My Time. LINKS: Pledging My Time Book IndieGoGo Campaign Follow Ray Padgett on Twitter, Instagram Flagging Down The Double E's newsletter (Substack) Check out CoverMe Website Ray's Cover Me book (Amazon) Ray's 33 1/3rd Book: I'm Your Fan The Songs of Leonard Cohen

This is episode 1095 of the Arete Coach Podcast with Severin Sorensen and his executive coach guests Michele Barry, Ben Griffin, Barry Goldberg, Phil Holberton, and Conor Neill. In this episode, we present a special panel discussion of senior executive coaches that explores how to prepare for a Recession, and specifically, 10 things to take with you into a hard recession. The purpose of putting this episode together was to provide sage counsel for CEOs, business owners and coaches who are coaching other business owners on how to prepare for a probable recession, and one that may indeed be a hard recession. In the episode, we explore, What is a recession? [1:13]; What Does A Recession Feel Like? [10:38]; What 10 Things Would You Take Into A Hard Recession? [29:07]; Final reflections from panelists [1:13:23]; and lastly, Severin summarizes the session [1:17:50] and ends with a few inspiring quotes to consider. Share this episode with executive coaches, business coaches, leadership coaches, business owners, entrepreneurs, CEOs, Key Executive teams, and anyone wanting to have a headstart in preparing for what looks like more than a portent of stormy weather ahead. [A disclaimer and warning; in this episode, panelists on the podcast share their deepest insights and past actions they have taken during hard recessions. Several offer their 'to-do' list for preparing for a recession such as securing cash for operations. Listeners are advised to seek their own financial and legal counsel before implementing any suggestions offered in this program.] The Arete Coach Podcast seeks to explore the art and science of executive coaching. You can find out more about this podcast at aretecoach.io. This episode was recorded on October 7, 2022 via Zoom Video. Copyright © 2022 by Arete Coach™ LLC. All rights reserved.

The Electric Flag was the brainchild of guitarist Mike Bloomfield, and Long Time Comin' was their debut studio album.  The core of the band was formed by Mike Bloomfield on guitar, Barry Goldberg on keyboards, and Buddy Miles (soon to be with Jimmy Hendrix's Band of Gypsies) on drums.  Additionally, Nick Gravenites would sing lead on several tracks.With "Long Time Comin'" Bloomfield wanted to create a sound that would feature what he called "American music."  He would draw inspiration from many sources including traditional country, gospel, and R&B, and the result would be a fusion of rock, jazz, R&B, and an early use of a horn section.  The sound would be described as an "eclectic approach toward American musical."  Critics would complement the group's sound on this album, though it would be somewhat of a failure commercially on the charts.The Electric Flag would put out two albums in 1968, but would break up shortly before their second album was released.  Drug use affected the group's ability to perform, and Bloomfield would later admit that heroin caused his playing to fall apart.Wayne brings us this classic of southern rock. WineThe full name for this song is actually "Drinking Wine Spo-Dee-O-Dee," and is a traditional boogie-woogie blues song about a famous and not very good wine called Thunderbird ("the word is Thunderbird").  It was a creation of E & J Gallo Winery, made cheap with a high alcohol content.Texas Buddy Miles sings lead on this blues track.  This sound would find traction with later groups like ZZ Top and Stevie Ray Vaughan. Bloomfield's playing was inspired by groups he heard in Chicago, and he would become known as one of the premier guitarists in rock music.  "I Wouldn't be an American, If it wasn't for Texas."Killing Floor This is an updated take on the Howlin' Wolf blues classic.  It has a blues feel but with an upbeat tempo.  The Electric Flag would cover this long before Led Zeppelin would make it the basis for "The Lemon Song."  Jimmy Hendrix would play this at the 1967 Monterey Pop Festival.Groovin' Is Easy This is the "hit single" from the album.  The sound is different from the other blues-based tracks, and is a bit more time stamped for the age.  "Groovin's so easy, baby, if you know how.  You don't have to keep yourself forever slavin' - go out an chase whatever you're cravin'." ENTERTAINMENT TRACK:main theme from the animated series “Speed Racer”While it would become a staple of after school and Saturday morning cartoons in the United States, this animated series was crossing the finish line of its run in Japan in this month.   STAFF PICKS:Summertime Blues by Blue CheerRob starts off our staff picks with a cover of Eddie Cochran's song from 1958.  Blue Cheer was a psychedelic band out of San Francisco, and considered a precursor to the heavy metal band.  Many consider this song to be the first heavy metal song to chart in the U.S.  They were considered the loudest group in concert at the time.I Thank You by Sam & Dave Bruce takes a soulful turn with the final Sam & Dave release on Stax records, as Stax ended a distribution deal with Atlantic Records (from which Sam & Dave were on loan).  It hit number 3 on the Billboard Pop Singles chart.  ZZ Top would cover this song later on, and it would be their second top 40 hit after "Tush."(Sittin' On) The Dock of the Bay  by Otis Redding Brian's staff pick is another song from Stax records, and the last single from Otis Redding.  Redding died in a plane crash 3 days after recording this song.  It was Redding's biggest hit, and the first posthumous release in the U.S.  It hit number 1 on the Billboard Hot 100.Are You Gonna Be There (At the Love In) by The Chocolate WatchbandWayne closes out the staff picks in fine hippie style with  this band out of Los Altos, California.  The Chocolate Watchband started in 1965 and would break up by 1970.  Supposedly Jerry Garcia plays guitar on this track. The story is that when the band's guitarist was too high to play, Garcia was in another studio in the same building, and sat in. INSTRUMENTAL TRACK:(Sittin' On) The Dock of the Bay by King Curtis & the Kingmakers"Dock of the Bay" was so popular that it featured both Redding and this instrumental version on the charts.

Many of us grew up listening to The Coasters, the iconic 1950s band that bridged the gap between doo-wop and R&B, that brought humor and sass to the birth of rock 'n' roll. Remember “Yakety Yak” and “Charlie Brown,” “Along Came Jones” and “Poison Ivy,” “Wake Me, Shake Me” and “Little Egypt”? But before any of those tunes topped the charts, it was a lesser known Coasters cut that grabbed us. Picture it: Hot summer, 1957, and into our shiny new transistor radios The Coasters came sashaying into our ears with a sexy little song that said, yeah, she may go to the baker for cake and to the butcher for steak, but when she wants good lovin'? …well! It was a winking and nodding Jerry Leiber-Mike Stoller composition called “(When She Wants Good Lovin') My Baby Comes to Me.”The song, a minor hit for The Coasters, was resurrected nine years later when a little known group called The Chicago Loop took a rendition of it to No. 37 on the Billboard Hot 100 chart. Rock trivia-lovers like to point out this disc because it features a young Michael Bloomfield on the guitar and Barry Goldberg on keyboards.But in the Floodisphere, we were much more impressed with a different pressing of the song released one year earlier. Favorite folksinger Tom Rush's 1965 self-titled debut Elektra album included a version of the tune, accompanied by bassist Bill Lee along with John Sebastian (of The Lovin' Spoonful) and Fritz Richmond (of The Jim Kweskin Jug Band.) Choosing the song was a rather bold move for Rush at a time when some music purists were trying — in vain — to keep the gap between rock and folk as wide as possible. In his liner notes, Tom pointed out that the song was released on the flip side of “Great Big Idol with the Golden Head,” adding, “I am a great admirer of The Coasters.”It was back in the 1970s that Dave Peyton, Rog Samples and Charlie Bowen started playing around with the song because it definitely had jug band vibe going on. Want to hear a fast and furious take from an August night in 1979 (with our buddy Jack Nuckols just killing it on the spoons)? Click the button below:After that, the song went back to sleep in our consciousness for, oh, a half century or so.Then last winter, Randy Hamilton started singing harmony with Charlie on the chorus and suddenly the song was back, evolving into a fine vehicle for cool solos by Danny Cox, Veezy Coffman and Sam St. Clair. Click here to hear the 2022 version of this early rock classic. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

In our 2nd episode of Go Ask Al, we have questions about mysterious etching on album vinyl, the Landlord soundtrack, Barry Goldberg on Supersession, the legendary Kapusta albums, the Sharon Mitchell story, and the mysterious Swallow the Roach Question.

50 years ago Bob Dylan was turning 30. He recorded four new songs in the studio, and a total of eight original songs (four were from previous years), but did not release a studio album, only Greatest Hits Vol. II. He performed in both Madison Square Garden performances for the Concert for Bangladesh, and joined The Band on stage at the New York Academy of Music at the end of the year, but did not tour. He had his own studio he operated for a year near Greenwich Village, he recorded on a David Bromberg record and he recorded with Barry Goldberg when Goldberg used Dylan's studio to record. He arranged the recording of 15 of Allen Ginsberg's songs and played guitar, piano, and organ on them. He even appeared on public television with Ginsberg. And 1971 was the year Macmillan finally published TARANTULA. Yet, despite this activity, he was not ready to tour yet. It's the golden (50th) anniversary of this interesting year, so we are pausing half-way through our own calendar year of 2021 to look back. In "20 Pounds of Headlines," we round up news from the world of Bob Dylan as it was in 1971 and in "Who Did It Better?" we ask you who did "When I Paint My Masterpiece" better back in 1971: The Band or Bob Dylan?

This week, Features Co-Director Mick R. speaks with folk singer-songwriter Chase Cohl. They discuss her early fascination with midcentury girl group music, the shift from the folk stylings of her previous releases into 60s-style arrangements with the help of co-writer Barry Goldberg, and the process behind releasing her latest EP, Dear Dear, in several volumes. Produced by Jessi D. Photo Credit: Kristin Gallegos

This is episode 1011 of the Arete Coach Podcast with host Severin Sorensen and his guest Barry Goldberg, PCC. Barry is an Executive Coach, Vistage Chair, and former faculty member of the Leadership Coaching Program at Georgetown University. Barry is insightful, sage, and perceptive and came to executive coaching after a career in Management Consulting including work for the Naisbitt Group – authors of Megatrends and Reinventing the Corporation. He also served early in his career as an executive coach with Marshall Goldsmith Partners (2006-2009). Barry is a former Vice-Chair of the ICF Global Ethics and Standards Committee.  The Arete Coach Podcast seeks to explore the art and science of executive coaching. You can find out more about this podcast at aretecoach.io. This interview was conducted on 1/08/2021 via Zoom Video. Copyright © 2021 by Arete Coach™ LLC. All rights reserved.

Lily's out sick, but don't worry, we've got Cousin Luli returning as our guest star, representing the next generation of FNM. She comes to help Becky and Shai understand whether the things we are into are lame old people things or if they are cool charming retro things like Barry Goldberg. Tune in to find out of if we are still hip!  The Friday Night Movie Family supports the following organizations: NAACP Legal Defense Fund | Equal Justice Initiative. Subscribe, rate and review us on your favorite podcast platform, including iTunes | Spotify | Stitcher | Google Play | Podbean | Overcast. Play along with Friday Night Movie at home! Read the FNM Glossary to learn the about our signature bits (e.g., Buy/Rent/Meh, I Told You Shows, Tradesies, etc.) and then head on over to our merch store your very own official FNM t-shirt.  Send us your recommendations and your tradesies! We'll watch them and report back on the show! Email us at pancake@pancake4table.com or tweet @FriNightMovie, @pancake4table, @chichiKgomez, and/or  @paperBKprincess.  Follow our creations and zany Instagram stories @frinightmovie and @pancake4table. Follow us on Letterboxd (@pancake4table) where we're rating every movie we've EVER watched.  Subscribe to our quarterly newsletter for exclusive giveaways and news! Theme music by What Does It Eat.  Subscribe and leave a review on IOS or Android at www.fridaynightmoviepod.com.  Follow all of our pop culture shenanigans at www.pancake4table.com. 

This week marked Holocaust Remembrance Day which was an historical event that saw the anguished cries of millions of Jewish people incinerated at the hands of the Nazi's. Jewish musicians have always had a soft spot in my heart especially if they can swing like my guest who developed and identified with his black brothers who lived under oppression and slavery for years similar to the gulags that were strewn across Eastern Europe. My guest played organ and piano and within the swirling confines of south side Chicago where the ChessBrothers owned a stationary spot which allowed them to promote Otis Rush and Muddy Waters, Ramsey Lewis. My guest also idolized Jack McDuff and Groove Holmes and Jimmy Smith. Cats who could lock the groove with their left hand and solo over the top with the right while Sam Lay or Harold Jones or Bernard Pretty Purdie held it down. My guest came from a contingent of white authentics like Elvin Bishop, Michael Bloomfield, Nick Gravenites Harvey Mandel who sat at the feet of the titans, learning how to improvise on the fly and developing their own individual sound. They also always kept the blues in their muse. Chicago was a bastion of blues and post bop when my guest headed west to Marin county with Michael Bloomfield wailing on Blues in Orbit while self medicating and surviving in a tough business that my guest found success in with the overlapping strands of Bob Dylan and Al Kooper, Harvey Brooks, Neal Merriweather and Charlie Musslewhite Marc Naftalin, Boz, Steve Miller and Boz Scaggs Unlike cats like Kweskin and Muldaur my guest adopted the plug in and the electric mud that was being slung across hippies shoulders even if Muddy Waters couldn't stand it. He continues his musical collaborations today with the same grey beards that looked up to and had opportunities to play with John Lee Hooker, The Reverend Gary Davis and Papa John Creach. All good things in all good time Barry Goldberg welcome to the JFS.... --- Support this podcast: https://anchor.fm/jake-feinberg/support

In this episode, we review the instant classic Disney Channel Original Movie Smart House (1999), about a house that is...smart. Come join us!   Intro Music: Afterparty Review by Sascha Ende Link: https://filmmusic.io/song/2962-afterparty-review License: http://creativecommons.org/licenses/by/4.0/   Other Songs Used: The House Is Jumpin'Performed by Barry Goldberg, John Philip Shenale (as Phil Shenale), and Sterling SmithVocals by Chán AndréWritten by Barry Goldberg and Jill Wisoff & Joel Diamond

90 Day Fiancé - Happily Ever After? Season 5 Episode 9Asuelu and his mom kiss a lot, but Kalani wins the day despite losing their saving on Food Truck food.Chuck Googles the nearest hospital so he can visit Charlie.Jess uses Colt as a whack-a-mole and Debbie sleeps alone.Syngin goes out with the boys and Tania hates seatbelts.Paul runs like a mixture of Barry Goldberg and Steven Segal.Larissa stays out of jail another week despite being stalked by an Amazon driver.Angela doesn’t call off the wedding this week.Coupled with Chaos can be reached as listed below:Email: Coupledwithchaos@gmail.comFacebook: @CoupledwithchaosInstagram: @CoupledwithchaosTwitter: @CoupledwChaosFollow their adventures both here and on their other podcast – Coupled with Chaos

There are few artists whose names are synonymous with one instrument and how it's played in service to an entire genre.  Utter the phrase "young blues rock guitarist" within earshot of anyone with even a cursory knowledge of the modern musical vanguard and the first name they are most likely to respond with will be Kenny Wayne Shepherd. The Louisiana born axeman and songsmith has sold millions of albums while throwing singles into the Top 10, shining a light on the rich blues of the past and forging ahead with his own modern twist on a classic sound he has embodied since his teens.  In a 20-year recording career that began when he was just 16, Shepherd has established himself as an immensely popular recording artist, a consistently in-demand live act and an influential force in a worldwide resurgence of interest in the blues.  From television performances on The Tonight Show with Jay Leno, The Late Show with David Letterman, Jimmy Kimmel Live and Late Night with Jimmy Fallon (amongst others) to features in Rolling Stone, Vanity Fair, Maxim Magazine, Blender, Spin, USA Today and more, his musical career has been nothing short of phenomenal.  At 16 years old, he signed his first record deal and burst onto the national scene with the release of his 1995 debut album Ledbetter Heights, which produced the radio hits "Deja Voodoo," "Born with a Broken Heart" and "Shame, Shame, Shame." His relentless touring and success on rock radio helped to drive the album to Platinum sales status. His 1998 sophomore effort Trouble Is… also went Platinum, yielding such radio hits as "Blue on Black," "True Lies" and "Somehow, Somewhere, Someway." 1999's Live On spawned the radio hits "In 2 Deep", "Shotgun Blues" and "Last Goodbye." 2004's The Place You're In was a blistering rock record and was followed up by 2007's ambitious 10 Days Out: Blues from the Backroads, for which Shepherd and his band traveled throughout the American South to record with such vintage blues greats as B.B. King, Clarence "Gatemouth" Brown, Hubert Sumlin, Pinetop Perkins and David "Honeyboy" Edwards on their home turf. 2010 saw the release of Shepherd's long-awaited first live album, Live! In Chicago, recorded at Chicago's House of Blues during the all-star Legends tour and featuring guest appearances by such blues legends as Hubert Sumlin and Willie "Big Eyes" Smith. The live disc debuted at #1 on Billboard's Blues chart, as did 2011's How I Go. In 2013, Shepherd further expanded his musical horizons by teaming with veteran rockers Stephen Stills and Barry Goldberg to form THE RIDES, whose first album Can't Get Enough helped to expand Shepherd's audience as well as his musical resume. 2014 saw the release of Goin' Home, Shepherd's sixth # 1 debut on the Billboard Blues charts. Goin' Home features several talented friends who shared Shepherd's enthusiasm for the project's back-to-basics ethos. Those guests include fellow guitar icons Joe Walsh, Warren Haynes, Keb' Mo' and Robert Randolph, longtime friend Ringo Starr, Fabulous Thunderbirds frontman Kim Wilson, the Rebirth Brass Band and co-producer Blade's father, Pastor Brady Blade Sr., who lends a bracing dose of preaching to Shepherd's version of Bo Diddley's' "You Can't Judge a Book by the Cover." In the months since its release, Shepherd and his band have toured the world extensively blazing a fresh trail for the historical American art form in the 21st Century.

This is a "one day at a time" reckoning.. We will either hit rock bottom or sober up as a species. PLEASE CLICK ON TITLE FOR RICH BUCKLAND'S EPIPHANY NOTEBOOK

When most people think personal injury, they think advertising. After deciding that he didn't want to play that game, Barry Goldberg created a niche content strategy that's been driving cases consistently to his practice ever since.Free bonus for show listeners! Click here to get access to the video course and scripts our clients have used to double their case files without spending another dime on marketing. See acast.com/privacy for privacy and opt-out information.

Ryan sits down with drummer Herman Matthews. Herman has had the great fortune of working with such artists as Kenny Loggins, Richard Marx, Tower Of Power, The Isley Bros., Kirk Whalum, George Duke, Bob James, Timothy B. Schmit, Tom Jones, Hugh Laurie, Patty Austin, Chris Botti, James Ingram, Boney James, Steven Stills, Edger Winter, Luther Vandross, Celine Dion, Patty Austin, James Ingram, Sheryl Crow, “Baby Face” Edmonds, Chaka Chan, Carol King, SHeDAISY, Barry Goldberg, Ronnie Millsap, Fee Waybill, Bill Champlain, Maxi Priest, Debbie Gibson, Diane Reeves, Kenny G., John Farnham, Nia, Snuffy Walden, Sarah Nimetz, Greg Adams & East Bay Soul, Dan Aykroid & Jim Belushi, Michael Bolton, Expose, Angie and Debbie Winans, Rebekah, Meredith Brooks, Kina, Tiffany, Eric Burdon, Teresa James & The Rhythm Tramps… During the early 90's he was a member of the house band “Into The Night Starring Rick Dees.”

Ryan sits down with drummer Herman Matthews. Herman has had the great fortune of working with such artists as Kenny Loggins, Richard Marx, Tower Of Power, The Isley Bros., Kirk Whalum, George Duke, Bob James, Timothy B. Schmit, Tom Jones, Hugh Laurie, Patty Austin, Chris Botti, James Ingram, Boney James, Steven Stills, Edger Winter, Luther Vandross, Celine Dion, Patty Austin, James Ingram, Sheryl Crow, “Baby Face” Edmonds, Chaka Chan, Carol King, SHeDAISY, Barry Goldberg, Ronnie Millsap, Fee Waybill, Bill Champlain, Maxi Priest, Debbie Gibson, Diane Reeves, Kenny G., John Farnham, Nia, Snuffy Walden, Sarah Nimetz, Greg Adams & East Bay Soul, Dan Aykroid & Jim Belushi, Michael Bolton, Expose, Angie and Debbie Winans, Rebekah, Meredith Brooks, Kina, Tiffany, Eric Burdon, Teresa James & The Rhythm Tramps… During the early 90's he was a member of the house band “Into The Night Starring Rick Dees.”

Ryan sits down with drummer Herman Matthews. Herman has had the great fortune of working with such artists as Kenny Loggins, Richard Marx, Tower Of Power, The Isley Bros., Kirk Whalum, George Duke, Bob James, Timothy B. Schmit, Tom Jones, Hugh Laurie, Patty Austin, Chris Botti, James Ingram, Boney James, Steven Stills, Edger Winter, Luther Vandross, Celine Dion, Patty Austin, James Ingram, Sheryl Crow, “Baby Face” Edmonds, Chaka Chan, Carol King, SHeDAISY, Barry Goldberg, Ronnie Millsap, Fee Waybill, Bill Champlain, Maxi Priest, Debbie Gibson, Diane Reeves, Kenny G., John Farnham, Nia, Snuffy Walden, Sarah Nimetz, Greg Adams & East Bay Soul, Dan Aykroid & Jim Belushi, Michael Bolton, Expose, Angie and Debbie Winans, Rebekah, Meredith Brooks, Kina, Tiffany, Eric Burdon, Teresa James & The Rhythm Tramps… During the early 90's he was a member of the house band “Into The Night Starring Rick Dees.”

В программе «Дельта Миссисипи» предлагаем новую подборку олдскульных рок-музыкантов. Слушаем: композиции из альбома Jeremy Spencer - «Treading Softly»; 8-9 лет мы не слышали Tom Rush и в апреле 2018 года Том выпустил очень достойную пластинку - «Voices»; «In The Groove» - практически полностью инструментальный альбом Barry Goldberg; еще один ветеран блюз-роковой сцены Чикаго Elvin Bishop's Big Fun Trio - «Something Smells Funky 'Round Here».  И не можем не упомянуть действительно последнюю пластинку Tony Joe White – «Bad Mouthin'» который умер 24 октября 2018 года.

В программе «Дельта Миссисипи» предлагаем новую подборку олдскульных рок-музыкантов. Слушаем: композиции из альбома Jeremy Spencer - «Treading Softly»; 8-9 лет мы не слышали Tom Rush и в апреле 2018 года Том выпустил очень достойную пластинку - «Voices»; «In The Groove» - практически полностью инструментальный альбом Barry Goldberg; еще один ветеран блюз-роковой сцены Чикаго Elvin Bishop's Big Fun Trio - «Something Smells Funky 'Round Here». И не можем не упомянуть действительно последнюю пластинку Tony Joe White – «Bad Mouthin'» который умер 24 октября 2018 года.

Funny Greek – Episode 20 – Barry Goldberg

Aquesta setmana "T'agrada el blues?" difon dos CDs que acaben d'apar

Barry P. Goldberg was born and raised in the San Fernando Valley, and is very much a self-made success story. His Woodland Hills plaintiff’s personal injury law firm has experienced high velocity growth in the last couple of years, garnering a place on the Law Firm 500 “Fastest Growing Law Firms in the U.S.” for 2016 and 2017, and the firm is on track to make that list again in 2018. Barry believes that his sustained growth is a product of 1) great results 2) an impeccable client experience and 3) a willingness to embrace change. Barry recognized that a shift in consumer attitudes toward lawyers found online would change the hiring of lawyers forever. His goal was just to be found by potential new clients who would benefit from his services. Barry’s approach was to compete at no or low cost. Barry recommends his “ninja” marketing approach to lawyers and law firms who are looking to keep their traditional notions of integrity, while remaining relevant to the increasingly online consumer. The 3 pillars to the “ninja” approach is to focus on 1) content marketing 2) local marketing and 3) a niche practice. What you’ll learn in this episode: How Barry kept his online business plan dignified, truthful and accurate to show who he really was. How he developed a “ninja” marketing approach for his firm that differs from lawyers who spend large amounts on marketing, and how the percent of his caseload coming from clients who learned about him online has soared to nearly fifty percent. His process for expanding his web presence using blog posts and online directories. How his blogging experience allowed him to develop a niche practice and bring in more business. Ways to contact Barry: Website: www.barrypgoldberg.com Twitter: @LAinjurylawpro LinkedIn: www.linkedin.com/in/barrypgoldberg Facebook: www.facebook.com/BPGlawfirm Yelp: www.yelp.com/biz/barry-p-goldberg-woodland-hills-2

I want to start this episode with a quote from Robert Hooke, a British natural philosopher, architect and polymath who lived and worked during the years 1635 to 1703. Hooke's personal story as a hardworking and honest, but ultimately irascible and enigmatic character is one I will save for another time but as I was working on this episode I found a quote attributed to him relevant to our topic for this episode. Robert Hooke wrote the following in the late 1600s:  “It may be possible to discover the motions of the internal parts of bodies, whether animal, vegetable, or mineral, by the sound they make; that one may discover the works performed in the several offices and shops of a man's body, and thereby (sic) discover what instrument or engine is out of order…[I could proceed further, but methinks I can hardly forbear to blush when I consider how the most part of men will look upon this: but, yet again,] I have this encouragement, not to think all these things utterly impossible.” Today we will explore how Robert Hooke's prediction from the late 1600s has come true. In this episode, I'm going to be discussing a type of radiologic imaging used often in urology called ultrasonography or, more commonly, ultrasound. I recently had a moment to reflect on ultrasonography as one of my young partners and his wife are currently pregnant with their first child. Just to be technical here, she is doing the work of the pregnancy and he is taking on the responsibility of being anxious and excited. As only a nervous future father can do he was showing me the ultrasound that had been done of the 20-week-old baby in utero. The pictures, of course, showed the baby's development in striking detail. facial structures, small hands and feet, a beating heart, and last but not least, the picture that my partner and I examined with the most scrutiny…wait for it…the developing genitalia. That's right.  It's a boy! According to one website describing ultrasound technology, ultrasound is marvelous for its ability to “peer inside patients with nary a needle or knife to be seen.” Although ultrasound lacks the resolution of CT scans or MRI scan, it also is easier and less costly to perform, doesn't have the ionizing radiation associated with CT imaging, and the results can be seen right away. No needle, no knife. Ultrasound technology has allowed us to identify distinct characteristics of a child in utero. We talked in episode number 41 with Dr. Chris Atalla about how we use the ultrasound technology during a robotic partial nephrectomy. Ultrasound is critical in defining, intraoperatively, the anatomic extent of endophytic masses during complex partial nephrectomy cases. Placing an ultrasound probe through a laparoscopic port directly on to the kidney during the surgery allows the surgeon to determine the tumor's location on the kidney, its depth within the parenchyma, and size and location relative to the renal vasculature and/or ureter to avoid injury to those structures during the procedure.   The first reported use of ultrasound technology in urology was for characterization of renal masses into either cystic or solid. In 1970, Dr. Barry Goldberg and Dr. Howard Pollack presented at a meeting of the AUA in Philadelphia a report characterizing 150 renal masses into either cystic or solid based on A-mode ultrasound technology. In 144 of the 150 cases (96 per cent), the physical state of the mass, that is cystic, solid or complex in nature, was correctly predicted. This was a major breakthrough because, at that time, characterization of masses into the typically benign cyst or often cancerous solid mass typically required invasive procedures such as arteriography, aspiration, biopsy or surgical. The immediate advantage of being able to characterize a mass with a high degree of certainty without an invasive procedure was immediately apparent. The study that I am referencing can, at the time of this recording, still be found online along with a number of other groundbreaking articles from the Journal of Urology over the last hundred years at JU100.org. Ultrasound has become an important part of my nearly every day existence in the clinic where the determination of a renal lesion as being cystic or solid comes up nearly daily. Ultrasound is used for almost every organ that we deal with in urology as well. Let's looks at the different organs individually Kidneys: Renal ultrasound studies can show the size and position of the kidneys, blockage of the kidneys, kidney stones, blood flow to and from the kidney and, of course, kidney tumors and cysts. Renal Pelvis and Ureter: The renal pelvis is visualized for assessing drainage of the kidney. Obstruction is identified as dilation of the renal pelvis called hydronephrosis. Obstruction usually comes from a kidney stone but can be related to uretero-pelvic junction obstruction, acquired stricture, a tumor of the ureter, or external compression from an abdominal tumor or mass. The ureter is usually not well visualized along its entire course but the upper ureter and lower ureter can sometimes be assessed. Bladder: The most common reason for bladder ultrasound is to check the bladder's ability to empty. The urine that remains in the bladder after urinating is called the "post void residual.” If urine remains, there can be a problem such enlarged prostate, urethral stricture, bladder dysfunction or neurogenic bladder from conditions such as spinal cord injury or multiple sclerosis. Bladder ultrasound can also give information about the thickness of the bladder wall, diverticula of the bladder, bladder stones, and bladder cancers. Prostate: The most common reason for a prostate ultrasound (also called "transrectal ultrasound") is to biopsy men who might be at risk for prostate cancer with elevated PSA tests or prostate abnormalities felt by digital rectal examination. Prostate cancer can't be diagnosed by ultrasound alone so, a tissue sample or "biopsy" of the prostate is also done. Prostate ultrasound can also be used for benign problems as well, such as measuring the volume or size of the prostate to help plan treatment for BPH, or to look for prostate abnormalities or duct obstruction in men with infertility. Scrotum and Testicle: The main reason for scrotal ultrasound is to evaluate swelling, mass, and/or pain. Ultrasound is used to determine if mass is intra-testicular, extra-testicular, solid or cystic to check for testicular cancer. A fluid collection around the testis called a “hydrocele” can be evaluated. Cysts or spermatoceles of the epididymis can be detected. Large, varicose veins of the testicle called “varicoceles” may be found in cases of infertility. Assessing blood flow in the testis is used to evaluate for testicular torsion, a condition that requires immediate treatment. Female Urethra: Transvaginal ultrasound can be used to find a urethral diverticulum. A urethral diverticulum may cause urethral pain and frequent urinary tract infections.  Penis: Evaluation of penile blood flow using a Doppler probe is used for evaluation of Peyronies Disease and Erectile Dysfunction.  The Doppler can evaluate why a man has ED, diagnosing such problems as arterial insufficiency or venous leak. In cases of Peyronies Disease the extent of Peyronies plaque and degree of curvature can be evaluated to help guide treatment.  What is ultrasonography or ultrasound? I want to take brief couple minutes to explain how an ultrasound creates the pictures that we see. Sound travels in waves through the air, the ground, and various other things such our body tissues as a vibration or wave. The number of vibrations per second is called frequency. Frequency varies for each pitch and is measured in hertz. One hertz is equal to one vibration per second. A sound with a low frequency will have a low pitch. A sound with a high frequency will have a high pitch. For reference, the piano's 88 keys span the frequencies 27.5 Hz (A0) to 4186 Hz (C8). A piano tuned to standard concert pitch puts middle C at a frequency around 261.63  A healthy human ear is said to be able to hear frequencies that range from 20 to 20,000 Hertz. Most bats can detect frequencies as high as 100,000 Hz. Elephants can hear sounds at 14–16 Hz, while some whales can hear sounds as low as 7 Hz (in water).  Ultrasound refers to sound waves whose frequency is more than 20,000 cycles per second, any sound above human hearing. Any frequency that is below the human ear of 20 hz is known as infrasound. Bats use ultrasound for navigation, called echolocation. Bats send out an ultrasound signal while in flight. As sound travels if something gets in the way sound is reflected back in the form of an echo. The sound waves from the bat bounce of off structures in the bat's flight path and the bats receive the signal back. The bat has the ability to alter its flight to avoid hitting things based on the echoes it receives. Ultrasonography utilizes the principles of sound propagation and reflection to create the pictures that we see when we do an ultrasound  Let's go back to my partner's wife. When she is having her ultrasound done, the ultra-sonographer will place a probe called a transducer on her abdomen.  Within the transducer ultrasound waves are produced by applying an electrical current to a piezo-electric crystal contained inside. When the transducer is applied to the skin, the waves are transmitted through the contiguous tissues of the body. Any change, however slight, in the nature of the tissue causes some sound to be reflected toward the emitting transducer which also serves as a receiver. Got it? The transducer is sending out sound waves but also recording them as the sound waves are reflected back by the body tissues. The transmission of sound through tissue is determined by the specific acoustical impedance of that tissue. The junction of 2 tissues of different acoustical impedance or density is known as an acoustical interface, and the reflection of sound at an interface is known as an echo. The common form of ultrasound imaging that you and I know is called B-mode ultrasound which displays a dot of light depending on echo depth and intensity from the transducer. All of those dots of light, varying in intensity on a grid, creates a picture when contrasting dots of light and dark create an image on the screen. And those images can show striking detail, not only differentiating a renal mass into something cystic or solid but also allowing us to see, in utero, a baby in development. Amazing. In the 1600s Robert Hooke predicted we would determine the motions of the internal parts of the body by the sounds that they make. And he was right. When sound waves travel through our bodies we each echo back a different chorus based on our internal structure. My mother always said I marched to the sound of my own rhythm. I guess she was right all along.

Tea for One/孤品兆赫-184, 布鲁斯/Barry Goldberg-Blowing My Mind, 1966, Pt.2微博，微信订阅号：【孤品兆赫】本期继续一期布鲁斯的专题，来听一下芝加哥白人风琴手Barry Goldberg在1966年的首张专辑 < Blowing My Mind >，第二部分，欢迎收听。Tracklist 1. < Twice A Man > -- Barry Goldberg Blues Band, 1966 2. < Big Boss Man > -- Barry Goldberg Blues Band, 1966 3. < Big Boss Man > -- The Pretty Things, 1965 4. ROSALYN < The Moon Is Rising > -- The Pretty Things, 19655. < Whole Lotta Shaking Going On > -- Barry Goldberg Blues Band, 1966 6. < Blowing My Mind > -- Barry Goldberg Blues Band, 1966 7. < Stuck inside the Blues with the Memphis Blues Again > -- Bob Dylan, 1966

Tea for One/孤品兆赫-184, 布鲁斯/Barry Goldberg-Blowing My Mind, 1966, Pt.2微博，微信订阅号：【孤品兆赫】本期继续一期布鲁斯的专题，来听一下芝加哥白人风琴手Barry Goldberg在1966年的首张专辑 < Blowing My Mind >，第二部分，欢迎收听。Tracklist 1. < Twice A Man > -- Barry Goldberg Blues Band, 1966 2. < Big Boss Man > -- Barry Goldberg Blues Band, 1966 3. < Big Boss Man > -- The Pretty Things, 1965 4. ROSALYN < The Moon Is Rising > -- The Pretty Things, 19655. < Whole Lotta Shaking Going On > -- Barry Goldberg Blues Band, 1966 6. < Blowing My Mind > -- Barry Goldberg Blues Band, 1966 7. < Stuck inside the Blues with the Memphis Blues Again > -- Bob Dylan, 1966

Tea for One/孤品兆赫-181, 布鲁斯/Barry Goldberg-Blowing My Mind, 1966, Pt.1微博，微信订阅号：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/ 豆瓣小组：www.douban.com/group/457663/ 本期继续一期布鲁斯的专题，来听一下芝加哥白人风琴手Barry Goldberg在1966年的首张专辑 < Blowing My Mind >，第一部分，欢迎收听。Tracklist 1. < Getting' It Down > -- Barry Goldberg, 1966 2. < Mean Old World > -- Barry Boldberg, 1966 3. < Mean Old World > -- Canned Heat, 1968 4. < Let's Make It > -- Canned Heat & John Lee Hooker, 1970 5. < It Serves Your Right to Suffer > -- John Lee Hooker, 1965 6. < It Never Entered My Mind > -- John Lewis & Barry Galbraith, 1957 7. < It Hurts Me Too > -- Barry Boldberg, 1968

Tea for One/孤品兆赫-181, 布鲁斯/Barry Goldberg-Blowing My Mind, 1966, Pt.1微博，微信订阅号：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/ 豆瓣小组：www.douban.com/group/457663/ 本期继续一期布鲁斯的专题，来听一下芝加哥白人风琴手Barry Goldberg在1966年的首张专辑 < Blowing My Mind >，第一部分，欢迎收听。Tracklist 1. < Getting' It Down > -- Barry Goldberg, 1966 2. < Mean Old World > -- Barry Boldberg, 1966 3. < Mean Old World > -- Canned Heat, 1968 4. < Let's Make It > -- Canned Heat & John Lee Hooker, 1970 5. < It Serves Your Right to Suffer > -- John Lee Hooker, 1965 6. < It Never Entered My Mind > -- John Lewis & Barry Galbraith, 1957 7. < It Hurts Me Too > -- Barry Boldberg, 1968

There are few artists whose names are synonymous with one instrument and how it's played in service to an entire genre. Utter the phrase "young blues rock guitarist" within earshot of anyone with even a cursory knowledge of the modern musical vanguard and the first name they are most likely to respond with will be Kenny Wayne Shepherd. The Louisiana born axeman and songsmith has sold millions of albums while throwing singles into the Top 10, shining a light on the rich blues of the past and forging ahead with his own modern twist on a classic sound he has embodied since his teens. In a 20-year recording career that began when he was just 16, Shepherd has established himself as an immensely popular recording artist, a consistently in-demand live act and an influential force in a worldwide resurgence of interest in the blues. From television performances on The Tonight Show with Jay Leno, The Late Show with David Letterman, Jimmy Kimmel Live and Late Night with Jimmy Fallon (amongst others) to features in Rolling Stone, Vanity Fair, Maxim Magazine, Blender, Spin, USA Today and more, his musical career has been nothing short of phenomenal. At 16 years old, he signed his first record deal and burst onto the national scene with the release of his 1995 debut album Ledbetter Heights, which produced the radio hits "Deja Voodoo," "Born with a Broken Heart" and "Shame, Shame, Shame." His relentless touring and success on rock radio helped to drive the album to Platinum sales status. His 1998 sophomore effort Trouble Is… also went Platinum, yielding such radio hits as "Blue on Black," "True Lies" and "Somehow, Somewhere, Someway." 1999's Live On spawned the radio hits "In 2 Deep", "Shotgun Blues" and "Last Goodbye." 2004's The Place You're In was a blistering rock record and was followed up by 2007's ambitious 10 Days Out: Blues from the Backroads, for which Shepherd and his band traveled throughout the American South to record with such vintage blues greats as B.B. King, Clarence "Gatemouth" Brown, Hubert Sumlin, Pinetop Perkins and David "Honeyboy" Edwards on their home turf. 2010 saw the release of Shepherd's long-awaited first live album, Live! In Chicago, recorded at Chicago's House of Blues during the all-star Legends tour and featuring guest appearances by such blues legends as Hubert Sumlin and Willie "Big Eyes" Smith. The live disc debuted at #1 on Billboard's Blues chart, as did 2011's How I Go. In 2013, Shepherd further expanded his musical horizons by teaming with veteran rockers Stephen Stills and Barry Goldberg to form THE RIDES, whose first album Can't Get Enough helped to expand Shepherd's audience as well as his musical resume. 2014 saw the release of Goin' Home, Shepherd's sixth # 1 debut on the Billboard Blues charts. Goin' Home features several talented friends who shared Shepherd's enthusiasm for the project's back-to-basics ethos. Those guests include fellow guitar icons Joe Walsh, Warren Haynes, Keb' Mo' and Robert Randolph, longtime friend Ringo Starr, Fabulous Thunderbirds frontman Kim Wilson, the Rebirth Brass Band and co-producer Blade's father, Pastor Brady Blade Sr., who lends a bracing dose of preaching to Shepherd's version of Bo Diddley's' "You Can't Judge a Book by the Cover." In the months since its release, Shepherd and his band have toured the world extensively blazing a fresh trail for the historical American art form in the 21st Century. We chat with Kenny about his new album, Lay It On Down" @KWSheperd #UptownTownTheaterKC #BluesMusic #SlackerMorningShow101theFox #TMobile

Hamish Anderson is known as a  student of the three Kings -- Albert, BB and Freddie – which is one reason why he is a superb, award-winning blues artist blues rock guitarist/singer/songwriter. From Melbourne, Australia he has toured the world, joining bands like The Rides (Stephen Stills, Kenny Wayne Shepherd and Barry Goldberg), performing at SXSW; as well as being onstage with Los Lobos, Kenny Wayne Shepherd, Wynona Judd , Blues Traveler and was the last performer to open for BB King. His new album “Trouble” is now out and the single “Trouble” is receiving spins on radio across the nation.      Chris Pierce & Sunny War  were brought together by LA-basedGrammy winning  producer/songwriter Jared Faber and the rest is history. Pierce has inspired audiences worldwide  with his soulful, energetic music and honest storytelling, releasing 5 independent albums. He has headlined tours and opened for such artists as Seal, B.B. King, Al Green, Toots and the Maytals, Aaron Neville, Colbie Caillat, Beth Hart, Robert Cray, Dr. John and Jamie Cullum. Sunny War, originally from Nashville, has a guitar and vocal style somewhere between Punk and early blues. As a solo artist she has opened for Booker T, Keb’ Mo’, Madeleine Peyroux, Mindy Smith, The Levon Helm Band, & Angelique Kijo among others. The two together are now War and Pierce and blowing away radio and live audiences nationwide.  

The Total Tutor Neil Haley will interview Hayley Orrantia Star of ABC's The Goldbergs.  Strong, Sweet & Southern Hayley Orrantia, star of ABC's THE GOLDBERGS has released her latest single, Strong, Sweet & Southern. The song is now available on all downloadable and streaming sites including Spotify, iTunes, Amazon, and GooglePlay. Orrantia co-wrote the song with Mark Bright (Carrie Underwood, Rascal Flatts) and Kevin Kadish (Meghan Trainor), who produced and recorded the song at both the Starstruck and LoveShack Studios in Nashville. Hayley has been singing, songwriting, acting and playing piano since her early teens. For the past three years, she has spent her off seasons from THE GOLDBERGS in Nashville writing with many notable songwriters including Bright, Kadish (All About That Bass, My Lips Are Movin), Liz Rose (Girl Crush, You Belong With Me), Corey Crowder (I'm Coming Over, Think of You), Johnny Bulford (Woman Like You, Lonely Eyes), among others. In the last year, she has opened for country music stars Brad Paisley and Easton Corbin, performed at the CMA Fest and Off The Rails country music festivals, and released three original songs Love Sick, Until Then and Hasta Verte. The Goldbergs stars Wendi McLendon-Covey (Bridesmaids) as Beverly Goldberg, Patton Oswalt (Ratatouille) as adult Adam Goldberg, Sean Giambrone as Adam Goldberg, Troy Gentile (Good Luck Chuck) as Barry Goldberg, Hayley Orrantia (The X Factor) as Erica Goldberg, with George Segal (Just Shoot Me) as Pops Solomon and Jeff Garlin (Curb Your Enthusiasm) as Murray Goldberg.    

Separated in age by a musical generation but bonded by a mutual love of classic cars and the blues, two time Rock and Roll Hall of Famer Stephen Stills and five-time Grammy nominated singer, guitarist and songwriter Kenny Wayne Shepherd draw fire from their extraordinary collective histories--and join forces with famed Chicago rock/blues keyboardist Barry Goldberg--to blaze a fresh trail for the historical American art form in the 21st Century. Launching an exciting new chapter in each of their storied careers, the trio's new band The Rides—which Stills dubs “the blues band of my dreams,” built to last beyond the concept of a one time all-star gathering—is further powered by the explosive rhythm section of bassist Kevin McCormick and Shepherd's longtime drummer Chris Layton (also a veteran of Stevie Ray Vaughan's Double Trouble). Their 429 Records debut Can't Get Enough, helmed by longtime Shepherd producer Jerry Harrison, is a fascinating historical sweep, featuring a hard hitting mix of Stills-Goldberg-Shepherd penned blues/rock originals, classic blues tunes by Muddy Waters (“Honey Bee”) and Elmore James (“Talk To Me Baby”) and blistering twists on Stills' favorite Neil Young anthem “Rockin' In The Free World” and the Iggy Pop & The Stooges' early 70s classic “Search and Destroy.” For each principal, the inexplicable, free flowing chemistry and collective energy they shared during that high octane week of mostly first and second takes recorded at EastWest Studios on Sunset Blvd. took their creative A-games to transcendent places. “Barry and I got rid of everything we have learned over the past 40 years about how to screw up a record,” says Stills, who launched his career with Buffalo Springfield in the mid 60s, penning the generation defining “For What It's Worth” before cementing his legend with Crosby, Stills & Nash (and among many classic hits, “Suite: Judy Blue Eyes,” “Dark Star,” “Southern Cross” and “Love The One You're With”) over the ensuing decades. “In the spirit of that simple, raw authentic 40s and 50s blues music the three of us love, we got in there and boom! A few takes and we were done. The songs have muscle, they don't sound dated or contrived, they're very natural and organic. It's been the most magical experience of my life and I can't wait to tour with these guys and start recording again!”

Volbeat – Let's shake some Dust - Outlaw Gentlemen & Shady Ladies (2013)Dirty Sweet –You've been warned - American Spiritual (2010)LaVendore Rogue – The Maze - Light Up With – 2015Laurence Jones Christina Skjolberg Albert Castiglia – Join me opn the Blues caravan - (Blues Caravan) – 2014Joanna Connor – Statesburough - Blues Live 24 – 2011Jo Harman & Company – Ain't no love in the heart of the City -Live At The Royal Albert Hall – 2014Danny Bryant –Fools gold - Blood Money (2016)Blacktop Deluxe – Standing in the Blues - Presence And Gain - 2015 Bas Paardekooper & The Blew Crue – Why a man needs a woman - Songs from room 111 - 2014 (NL)Barry Goldberg's Soul Riot – Middle of the night - Barry Goldberg's Soul Riot – 2009Jesse Davey – Rain on my Pillow - Big Blues - 2015Tedeschi Trucks Band – Don't know what it means - Let Me Get By - 2016

Barry Goldberg of Barry P. Goldberg, A Professional Law Corporation is in his 30th year of practice and his small firm is growing rapidly thanks to an intelligent content marketing strategy.

  -Joe sneaks another cold open and immediately drives Bill insane -Is Joe on something? The King Stud? -Bill is fired up, takes on the Tranny Podcast -Joe is planning another elaborate birthday party, Bill is not -Retro gaming display difficulties, introducing the Framemeister to a special Super Nintendo -Bill finds Atari carts and a Vulcan Chain Gun -Yard Sale and Flea Markets and the one item Joe wants bad -Xbox and Wii mods -Joe goes to a gas station? -Can we talk Oscars? Nope - Joe talks Rogan again -Bill forces some Oscar talk, live tweeting and NPH -Barry Goldberg’s Day Off -Forget Rogan, Check out the Howard Stern Conan O’Brien interview -Sarca Sim turns Bill on to a couple more podcasts with this article -Joe brings it all home with more Transformers and Beer   Twitter: https://twitter.com/STCPod  STCPod Blog: http://stcpod.blogspot.ca/ F*Facebook: https://www.facebook.com/profile.php?id=100006274216567  OR this Facebook: https://www.facebook.com/pages/Start-To-Continue/1502185040051240?ref=hl  YouTube Channel: https://www.youtube.com/channel/UCEvAlOYbvVgwgIWWijdbS7Q  iTunes: https://itunes.apple.com/ca/podcast/start-to-continues-podcast/id944544803  Stitcher: http://www.stitcher.com/s?fid=56723&refid=stpr  Podcast URL: http://starttocontinue.podomatic.com  RSS: http://starttocontinue.podomatic.com/rss2.xml

I met Barry at the Brewery Art Colony. During his life-long pursuit of art, he was a sound engineer on some of my favorite albums (from Marilyn Manson, Smashing Pumpkins, Snoop Dogg) and is now exploring photography as a visual medium. We discuss the pursuit of art, overcoming fear and the power of self-expression. *** Full show notes and links at: http://oznog.com/dtrh021