Podcast appearances and mentions of Barry Mann

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Ce 3 avril, Marjorie Hache nous propose dans RTL2 Pop-Rock Station à travers deux heures éclectiques où se croisent classiques, perles indés et nouveautés explosives. L'émission démarre fort avec Skunk Anansie et leur puissant "Cheers", prélude à leur album "The Painful Truth" attendu en mai, et on en profite pour célèbrer l'anniversaire de Simon Raymonde (Cocteau Twins) avec "Fotzepolitic", extrait de "Heaven or Las Vegas". Le fil rouge de la semaine, l'album "Glory" de Perfume Genius, se referme avec son titre éponyme, introspectif et affirmatif. Les révélations du jour incluent Spiritbox et leur post-metal "No Loss, No Love", ainsi que Sparks avec "Jansport Backpack", annonciateur d'un 26e album prévu fin mai. La reprise du soir revisite "Dancing in the Dark" de Bruce Springsteen dans une version électro pop signée Hot Chip. La scène live est animée par les Foo Fighters avec "The Pretender", tandis que Refused électrise l'antenne avec "New Noise", en plein cœur de leur tournée d'adieu. Enfin, Tune-Yards dévoile "Limelight", extrait d'un futur opus sur 4AD, et Barry Mann clôture la soirée avec "Who Put The Bomp", écho vintage d'un héritage pop toujours vivant. La playlist de l'émission : Skunk Anansie - Cheers The B-52'S - Planet Claire Cocteau Twins - Fotzepolitic The Vaccines - I Can't Quit Mogwai - Fanzine Made Of Flesh The Beach Boys - Surfin' U.S.A. Two Door Cinema Club - Bad Decision Perfume Genius - Glory Electric Light Orchestra - Mr Blue Sky Spiritbox - No Loss, No Love The Bangles - Walk Like An Egyptian Sparks - Jansport Backpack Hot Chip - Dancing In The Dark Vampire Weekend - A-Punk Oasis - Lyla Last Train - One By One Marvin Gaye - I Heard It Through The Grapevine Massive Attack - Teardrop Foo Fighters - The Pretender (Live At Studio 606 2007) The Stooges - I Wanna Be Your Dog Refused - New Noise Tune Yards - Limelight The Cardigans - Erase And Rewind Barry Mann - Who Put The Bomp Nada Surf - Always Love Bob Dylan - Hurricane Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

DOUBLE TROUBLE: CINDY LAUPER AND MILEY CYRUSTwo towering, Olympian female voices, from different generations, aligning here to honestly testify about their love damaged hearts. They describe world's of hurt, confusion, and finally, triumph in the face of loss. Miley Cyrus “Heart of Glass”I love Miley Cyrus - not only because she carries the flag of peace, love, and musical tradition with her Happy Hippie Foundation, and, at the same time, continues to reinvent herself and confound expectations, but because she's one of the most captivating singers America has ever produced. Here she isn't channelling Debbie Harry's Blondie anthem, so much as honoring the past, and goosing the disco chestnut with rock n roll hydrogen. Displaying the vocal power of a roaring jet plane, Miley conveys a super sonic vibration alongside the mournful cry of an injured wolf. Before I ever saw her, I auditioned for her Disney show, Hannah Montana. I'm glad I didn't get that job, because the Miley that I was finally introduced to was not a preternaturally talented moppet, but it was The Wrecking Ball, the Can't Stop Won't Stop girl - the irresistible force for all that's forward looking in this society, and at the same time Dolly Parton's God daughter. What a combo!Cyndi Lauper “I'm Gonna Be Strong”When Cyndi Lauper emerged from the depths of Queens (my home ground), wearing orange hair and thrift store swag, singing about how Girls just wanna have fun, and mugging on MTV besides Captain Lou Albano, the wrestler, I loved her kookiness, but I was sure that she was not gonna be around that long. Boy, was I wrong. She demonstrated her amazing writing and vocal chops in all genres, spoke her mind faithfully about human rights, and in short order became a feminist icon. She has even scored big as a Broadway composer with the sensational Kinky Boots.For over 40 years she has dominated our national consciousness, and this year, as she makes what she claims is her farewell tour, she continues to represent unwavering notions of integrity, self-respect, and professionalism with undeniable power.Here she is reviving the 1964,  Gene Pitney hit composed by Barry Mann and Cynthia Weil, with a gut wrenching, operatic dynamism that leaves me speechless. 

As always, Andy brings you a mixed bag of musical goodies for you to sit back and enjoy. We kick off with Mr White and then motor through so belters before saying Happy Birthday to Barry Mann.There's also birthday greetings to Major Harris and the songwriting icon Carole King who turns 83 today. Andy ends the show with some crackers released on the Atlantic label by Bettye Swann, Deon Jackson and Arthur Conley. Enjoy!For more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sundays 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soul//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Dave BinckRighteous Brothers “You've Lost That Lovin' Feelin'" from the 1964 album "You've Lost That Lovin' Feelin'" released on Philles. Written by Phil Spector, Barry Mann, and Cynthia Weil and produced by Phil Spector.Personel:Bill Medley - low vocalBobby Hatfield - high vocalDon Randi - pianoTommy Tedesco - guitarCarol Kaye and Ray Pohlman - bassSteve Douglas - saxBarney Kessel - guitarEarl Palmer - drumsGene Page - arrangementsThe Blossoms, The Ronettes, Cher - background vocalsoCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Dave BinckRighteous Brothers “You've Lost That Lovin' Feelin'" from the 1964 album "You've Lost That Lovin' Feelin'" released on Philles. Written by Phil Spector, Barry Mann, and Cynthia Weil and produced by Phil Spector.Personel:Bill Medley - low vocalBobby Hatfield - high vocalDon Randi - pianoTommy Tedesco - guitarCarol Kaye and Ray Pohlman - bass Steve Douglas - saxBarney Kessel - guitarEarl Palmer - drumsGene Page - arrangementsThe Blossoms, The Ronettes, Cher - background vocalsoCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Mr McMahonVince McMahonBill SimmonsHulk HoganUltimate WarriorRandy SavageIron ShiekRowdy Roddy PiperRic FlairShowgirlsColdplayLady GagaBilly StringsThe Cure “Pictures of You”Willie NelsonYounder Mountain String BandMerle FestMamas and Papas “California Dreaming”Rod StewartThe Everly BrothersFrank SinatraThe Ronette's “Be My Baby”The BeatlesThe KinksThe Four Tops “Baby, I Need Your Loving”Dire Straits “Money for Nothing”P DiddySting “Every Breath You Take”Top GunDerek and the Dominos “Bellbottom Blues”The Beach Boys “Pet Sounds”Brian WilsonThe McCoys “Hang on Sloopy”Ritchie Valens“La Bamba”ElvisThe Beach Boys “Good Vibrations”Dan CortezPercy Sledge “When A Man Loves A Woman”Van MorrisonNancy SinatraLee HazelwoodHall and OatesGladys Knight and the PipsTom JonesRoberta FlackDonny HathawayDionne WarwickOrville PeckPaul CauthenTom CruiseAnthony EdwardsHugh Hefner

"Christmas Vacation" and "Elf" are set to dazzle in a festive face-off of holiday movie favorites. Join us for an enthralling adventure brimming with analysis, fascinating facts, and a generous dose of holiday spirit as we delve into the enchantment and joy of these treasured cinematic gems. | The Rules of the Game: - Four Rounds, Four Categories: Our showdown is governed by a spinning wheel of chance, deciding four random categories. - Points for Prowess: Each film earns points by outshining its opponent. - The Final Verdict: After all rounds, the film with the most points progresses, while the other takes a seasonal bow. | Image and Movie Clip Credits (with thanks to the magic-makers): 'Christmas Vacation' (1989): Directed by Jeremiah S. Chechik, written by John Hughes, starring Chevy Chase, Beverly D'Angelo, and Randy Quaid, 97 minutes, United States, English | Warner Bros. 'Elf' (2003): Directed by Jon Favreau, written by David Berenbaum, starring Will Ferrell, James Caan, and Zooey Deschanel, 97 minutes, United States, English | New Line Cinema. 'How the Grinch Stole Christmas' (2000): Directed by Ron Howard, written by Jeffrey Price and Peter S. Seaman, based on the book by Dr. Seuss, starring Jim Carrey, Taylor Momsen, and Jeffrey Tambor, 104 minutes, United States, English | Universal Pictures. 'Home Alone' (1990): Directed by Chris Columbus, written by John Hughes, starring Macaulay Culkin, Joe Pesci, and Daniel Stern, 103 minutes, United States, English | 20th Century Fox. Photographs (photographers unknown): Barry Mann and Cynthia Weil Mavis Staples John Debney Logos: Rotten Tomatoes Logo: Logo of Rotten Tomatoes, a review-aggregation website for film and television. Metacritic Logo: Logo of Metacritic, a review-aggregation website for films, TV shows, music albums, video games, etc. IMDb Logo: The IMDb (Internet Movie Database) logo is a trademark of IMDb.com, Inc. or its affiliates, representing their comprehensive database of movie, TV, and celebrity information. | Fair Use Note: This podcast adheres to the fair use guidelines under Section 107 of the Copyright Act 1976, focusing on criticism, comment, news reporting, teaching, scholarship, and research. We respect copyrights and acknowledge all rights of the respective owners. --- Support this podcast: https://podcasters.spotify.com/pod/show/thenerdcolosseum/support

Lass uns hier abhauen! So die unmissverständliche Aussage des Songs aus dem Jahre 1965, den Cynthia Weil und Barry Mann geschrieben haben. Aber erst mit den Animals um den charismatischen Sänger Eric Burdon wurde der Rocksong „We Gotta Get Out of This Place“ ein Hit und eine Hymne für die US-amerikanischen Soldaten im Vietnamkrieg.

Welcome to Season 03 Episode 01 - the "Here We Go Again" edition - of Notes from the Aisle Seat, a podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. The first episode of Season 3 features a preview of the fall 2023 season at the Opera House with Executive Director Rick Davis, an interview with Jacob Swanson and Alison D'Amato of the Decho Ensemble, and a conversation with Broadway star Eden Espinosa. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps: Rick Davis Preview  01:54 Decho Ensemble  20:43 Arts Calendar  36:00 Eden Espinosa  39:40 Media: "Here You Come Again," performed by Dolly Parton; written by Barry Mann and Cynthia Weil, from the album Here You Come Again, September 1977 "Ulterior Motives"; Andrew Cote, composer, 2012; performed by the Decho Ensemble; Jacob Swanson and Sarah Marchitelli, alto saxophones, July 2020 "Duet #1 Wo0 27," Ludwig von Beethoven, composer (1790-92); performed by the Decho Ensemble, Jacob Swanson, alto saxophone, Sarah Marchitelli, tenor saxophone, August 2020 "I'm Not That Girl," from the musical Wicked, Stephen Schwartz, composer, performed by Eden Espinosa from her album Look Around, August 2012 "Look Around," from the musical The Will Rogers Follies, music by Cy Coleman, lyrics by Betty Comden and Adoph Green, May 1991, performed by Eden Espinosa, from her album Look Around, August 2012 Artist Links: Decho Ensemble Eden Espinosa      

Welcome to the Instant Trivia podcast episode 920, where we ask the best trivia on the Internet. Round 1. Category: certificates 1: From 1950 to 1999 the most popular name on these certificates for newborn boys in the U.S. was Michael. birth certificates. 2: When Billie Jean King won her first Wimbledon singles title in 1966, the prize was one of these for tennis wear. gift certificate. 3: It is often signed by the last physician who attended the deceased. death certificate. 4: The ones Playboy Enterprises issued in 1971 included a nude image of Miss February Willi Rey. stock certificates. 5: As part of a 1930s act it was illegal for individuals to hold these from the Treasury; the restrictions were lifted in 1964. gold certificates. Round 2. Category: what's the alternative? 1: You can get your chi balanced by either of these 2 ancient Chinese methods whose name both begin "acu". acupuncture and acupressure. 2: This "therapy" uses concentrated plant oils like rosemary or bergamot to relieve stress. aroma therapy. 3: Meaning "the science of prolonging life", it's a dietary regime of whole grains, vegetables and beans. macrobiotic. 4: By this alternative medicine's methods a quartz-powered watch should aid in carpal-tunnel syndrome relief; well, maybe. crystal healing. 5: Autosuggestion ("I am great, great") is classified as a form of "self" this ("I am getting sleepy, sleepy"). self-hypnosis. Round 3. Category: "love" songs 1: In a Sinatra classic, these 2 things "go together like a horse and carriage". love and marriage. 2: In this title song from Elvis' first movie, The King declares "You have made my life complete, and I love you so". "Love Me Tender". 3: "When I kissed a cop down on 34th and Vine, he broke my little bottle of" this. "Love Potion No. 9". 4: In a 1964 Beatles hit, "She says" this, "and you know that can't be bad". "She Loves You". 5: Jack Jones sang that this vehicle "soon will be making another run". the "Love Boat". Round 4. Category: slavery 1: In 1861 by imperial decree, Alexander II liberated 40 million serfs in this country. Russia. 2: This large Middle Eastern country did not abolish slavery until 1962. Saudi Arabia. 3: In 1865 this amendment to the Constitution abolished slavery in the U.S.. 13th Amendment. 4: The Compromise of 1850 banned the slave trade in Washington, D.C. and admitted this state as a free state. California. 5: 11-letter word meaning the formal emancipation of a slave by his owner. Manumission. Round 5. Category: ding dong 1: In 1967 this company introduced its chocolate-covered Ding Dong snack cakes. Hostess. 2: The Fifth Estate had a 1967 Top 20 hit with this song from a 1939 movie. "Ding-Dong! The Witch Is Dead". 3: 4-word title of the Barry Mann song that asks, "Who put the ram in the rama lama ding dong?". "Who Put The Bomp". 4: In a song from this musical, "We go together like rama lama lama ka dinga da dinga dong". Grease. 5: Ding Dongs are individually wrapped chocolate cakes from this company. Hostess. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

GDP Script/ Top Stories for friday Aug. 18 Publish Date: Thursday Aug. 17 From the Henssler Financial Studio Welcome to the Gwinnett Daily Post Podcast Today is friday August 18th , and happy 66th birthday to actor Dennis Leary ****Leary**** I'm Bruce Jenkins and here are your top stories presented by Peggy Slappey Properties Gwinnett Animal Welfare hosting Clear the Shelters free pet adoption event on Saturday Gwinnett County wins record number of national achievement awards And Georgia Is Building the 10th Most Homes in the U.S. Plus, Brian Giffin will have Will Hammock of the Daily Post for a Gwinnett Sports Report All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe!    Break 1 :  Slappey - GCPS          Story 1. pet Gwinnett County Animal Welfare is hosting a Clear the Shelters event on Saturday from noon to 4 p.m. at the Bill Atkinson Animal Welfare Center in Lawrenceville. The event offers free pet adoptions as part of its annual effort to find permanent homes for shelter pets. The program includes music, local vendors, face painting, crafts, and other activities. The initiative is part of the nationwide Clear the Shelters campaign sponsored by NBC Universal, which has led to over 862,000 pet adoptions in the U.S. since 2015. Interested adopters can check the GwinnettAnimalWelfare.com website for available animals………….. read more at gwinnettdailypost.com   STORY 2: awards Gwinnett County has secured a remarkable 22 National Association of Counties (NACo) Achievement Awards for diverse programs implemented in 2022. This achievement surpasses its previous record of 11 awards from the prior year. Recognized programs include the Mobile Food Distribution initiative, Black History Month exhibit, online donation app, and watershed cleanup aimed at combating water pollution. The county's mobile food program, initially established to address pandemic-related food security challenges, earned the Best in Category Achievement Award. Notably, the Volunteer Gwinnett project distributed over 1.5 million pounds of food to almost 50,000 households in under three years. These accomplishments highlight Gwinnett County's commitment to comprehensive community support. Story 3: homes Since the COVID-19 pandemic, rising real estate values and rents have strained budgets for homebuyers and renters. The U.S. saw a substantial increase in median home sales price, boosted by low interest rates and a strong pandemic economy. While rent prices remained restrained due to renter protections and assistance programs, they accelerated in 2021 and 2022. Despite a 13.2% decline in median home sale price in Q2 2023 from the peak of Q4 2022, housing supply remains critically low, contributing to high competition and prices. The scarcity stems from underinvestment in housing since the Great Recession, which was worsened by high inflation and construction costs. Builder confidence declined for 12 consecutive months in 2022, influenced by these factors. Nationally, Georgia is 10th for building the most new homes. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We'll be right back   Break 2:   Slappey.- Tom Wages -  Obits   Story 4: taylor Bill Griese, known as Sweet Baby James, is a performer who travels the country giving solo concerts of James Taylor's iconic songs. Griese, a Nashville resident, has been doing this for about seven years. Despite being a dedicated Taylor fan, Griese's presentation is not a typical tribute band show, and he doesn't attempt to imitate Taylor's appearance or mannerisms. He performs Taylor's songs in his own style, without a visual component, focusing on sharing the music rather than the history of Taylor. Griese's concerts are interactive and include hits like "You've Got a Friend," "Sweet Baby James," and "Fire and Rain." He performs around 45 shows a year and values audience engagement. Sweet Baby James will perform at the Aurora Theatre located at the Lawrenceville Arts Center at 7:30 p.m. Tonight.   Story 5: king   "Beautiful: The Carole King Musical" is a production that tells the story of Carole King's early career and her success as a songwriter before becoming a solo artist. The musical covers her collaboration with songwriting partners like Gerry Goffin, Cynthia Weil, and Barry Mann, and features many of the hit songs she wrote, including "You've Got a Friend," "One Fine Day," and "The Loco-Motion." The musical, which opened on Broadway in 2014 and received Tony and Grammy Awards, is now being presented by the Aurora Theatre in Georgia. The lead role of Carole King is played by Bethany Irby, who also plays the piano during the performance. The show is described as a "jukebox musical" and is expected to resonate with audiences through its nostalgic songs and Carole King's inspiring journey.   Story 6: gbi Retired Deputy Director of Georgia Bureau of Investigation's (GBI) Investigative Division, Scott Dutton, has been appointed as GBI assistant director by Director Chris Hosey. In this role, Dutton will assist in overseeing GBI's investigative, scientific, information, and administrative services for the state. Dutton had a 32-year career with GBI, starting as a special agent in the Thomaston Regional Office and later serving in various roles within the agency, including handling drug enforcement units, being part of the Georgia Information Sharing and Analysis Center (GISAC), and serving as director of public affairs. Dutton's extensive law enforcement background and experience make him a valuable addition to the GBI leadership team.   We'll be back in a moment   Break 3:  ESOG – Ingles 9 - Lawrenceville   Story 7: Sports And now, Leah McGrath, corporate dietician at Ingles markets talks with us about foods that help with swollen feet   ***LEAH***   We'll have final thoughts after this. ****LEAH**** Break 4:  GCPS - Henssler 60 Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories, and get other great content at Gwinnettdailypost.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts.   www.wagesfuneralhome.com  www.psponline.com  www.mallofgeorgiachryslerdodgejeep.com  www.esogrepair.com  www.henssler.com  www.ingles-markets.com  www.downtownlawrencevillega.com  www.gcpsk12.orgSee omnystudio.com/listener for privacy information.

If you are a fan of the Beatles and their early days in Hamburg, you will be thrilled to hear this amazing AI-produced version of the song Where Have You Been All My Life? with clear vocals by John Lennon. This song, written by Barry Mann and Cynthia Weil, was one of the covers that the Beatles performed live at the Star Club in 1962, but the original recording was of poor quality and Lennon's voice was barely audible. The Beatles - Where Have You Been All My Life? (Live in Hamburg) - YouTubeNow, thanks to the power of artificial intelligence, you can enjoy this song as if you were there in the club, listening to Lennon's passionate singing and the band's energetic playing. The AI has enhanced the sound and removed the background noise, making this a rare and precious gem for any Beatles lover. 

This week, hosts Jim DeRogatis and Greg Kot pay tribute to the late Cynthia Weil, one half of the songwriting duo Mann & Weil, famous for writing tracks like “We Gotta Get Out of This Place” and “You've Lost that Lovin' Feeling.” Jim and Greg revisit their 2011 conversation. The hosts also talk to Ryan Tedder of One Republic about writing songs for himself, Beyoncé, Adele and more. Plus, a review of the new album from rapper Killer Mike. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967Killer Mike, "SLUMMER," MICHAEL, Loma Vista, 2023Killer Mike, "MOTHERLESS," MICHAEL, Loma Vista, 2023Killer Mike, "DOWN BY LAW," MICHAEL, Loma Vista, 2023Killer Mike, "SCIENTISTS & ENGINEERS (feat. Future & Eryn Allen Kane)," MICHAEL, Loma Vista, 2023Cass Elliot, "Make Your Own Kind of Music," Bubblegum, Lemonade &... Something for Mama, Dunhill, 1969Barry Mann, "Who Put the Bomp (in the Bomp, Bomp, Bomp)," Who Put The Bomp, ABC-Paramount, 1961Bobby Vee, "Take Good Care of My Baby," Devil or Angel, Weton, 1960The Drifters, "Saturday Night at the Movies," The Good Life With The Drifters, Atlantic, 1963Tony Orlando, "Happy Times Are Here to Stay," Bless You and 11 Other Great Hits, Epic, 1961The Righteous Brothers, "You've Lost That Lovin' Feelin'," You've Lost That Lovin' Feelin', Philles, 1964The Crystals, "Uptown," Twist Uptown, Philles, 1962Eydie Gormé, "Blame It on the Bossa Nova," Blame It on the Bossa Nova, Columbia, 1963The Cookies, "On Broadway," The Complete Cookies, Sequel, 1963The Drifters, "On Broadway," Under The Boardwalk, Atlantic, 1963Barry Mann, "Soul and Inspiration," Soul and Inspiration (Single), Unreleased, 1966Barry Mann, "We Gotta Get Out of This Place [Original Demo]," Red Bird Story, Snapper UK, 2011The Animals, "We Gotta Get Out of This Place ," Animal Tracks, EMI, 1965Dolly Parton, "Here You Come Again," Here You Come Again, RCA, 1977OneRepublic, "Love Runs Out," Native, Interscope, 2013Timbaland (feat. OneRepublic), "Apologize," Shock Value, Blackground, 2007Leona Lewis, "Bleeding Love," Spirit, Syco, 2007Beyoncé, "Halo," I Am... Sasha Fierce, Columbia, 2008Adele, "Turning Tables," 21, Columbia, 2011Taylor Swift, "Welcome to New York," 1989, Big Machine, 2014OneRepublic, "Counting Stars," Native, Interscope, 2013Jason Isbell & the 400 Unit, "Miles," Weathervanes, Southeastern, 2023Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

In a June Substack tribute to Cynthia Weil's legacy, Dan Epstein of “Jagged Time Lapse” observed that the “modern pop songbook would be significantly slimmer and less life-affirming without their work”.  The ‘their' referring, of course, to her husband and songwriting partner Barry Mann. From their early Brill Building output which included “Uptown” (The Crystals), “You've Lost That Lovin' Feelin'” (The Righteous Brothers), and “Walking In The Rain” (The Ronettes), to the chart-topping 80s classics of “Don't Know Much” (Linda Ronstadt and Aaron Neville) and “Here You Come Again” (Dolly Parton), Cynthia Weil's contributions to popular music were indeed affirming. This week's Deeper Roots pays due respect to Cynthia, who was married to Barry Mann for almost 62 years, and was lyricist to his music. Their contributions to the sound of rock and roll and pop music in the 1960s rivaled luminaries like Burt Bacharach, Carole King and Neil Diamond.

Songwriter Cynthia Weil, along with her writing partner and husband Barry Mann, wrote the 1960s hits You've Lost that Loving Feeling, Uptown, On Broadway, and We've Got to Get Out of This Place. We'll listen to our 2000 archival interview with them. She died last week at 82. Also, film critic Justin Chang reviews Past Lives.

Matthew Bannister on Mel Parry, the SAS veteran who was part of the team that stormed the Iranian embassy in London in 1980. Professor Alice Coleman, the geographer whose modifications to modernist high rise estates won the support of Margaret Thatcher. Hugh Callaghan, the labourer who was one of six men arrested after the Birmingham pub bombings of 1974. He served 16 years in prison for a crime he didn't commit. Cynthia Weil, the American songwriter behind hits like The Righteous Brothers' “You've Lost That Loving Feeling”, The Animals' “We Gotta Get Out Of This Place” and Dolly Parton's “Here You Come Again”. Interviewee: Bob Shepherd Interviewee: Jo Kendall Interviewee: Professor Loretta Lees Interviewee: Chris Mullin Producer: Gareth Nelson-Davies Archive used: Iranian Embassy Siege, News bulletin, BBC Radio 4, 30/04/1980; Iranian Embassy Siege, Reports and interviews, BBC Radio 4, 01/05/1980; Iranian Embassy Siege, Reports and interviews, BBC Radio 4, 03/05/1980; Iranian Embassy Siege in London, News report, BBC Radio 4, 05/05/1980; Cynthia Weil interview: writing songs for male performers, Rock and Roll Hall of Fame, YouTube uploaded 14/03/2016; Cynthia Weil and Barry Mann interview, Sunday Morning, CBS, 08/02/2015; Alice Coleman interview, The Friday Report: A Design for Living, BBC Two, 05/02/1988; 1974 Birmingham Pub Bombings report, BBC News, 15/08/1975; Birmingham bombings, 21 Dead And 182 Injured In Birmingham, RTE News Archive, 21/11/1974; Hugh Callaghan interview, World In Action, Granada Television, 18/03/1991; Hugh Callaghan interview, BBC Radio Ulster, 08/12/1996; Birmingham Six freed, News reports, BBC Newsnight, 11/03/1991; Hugh Callaghan singing, Songs of Love and Emigration: Two, The Irish Pensioners Choir, 2023;

Songwriter Cynthia Weil, along with her writing partner and husband Barry Mann, wrote the 1960s hits You've Lost that Loving Feeling, Uptown, On Broadway, and We've Got to Get Out of This Place. We'll listen to our 2000 archival interview with them. She died last week at 82. Also, film critic Justin Chang reviews Past Lives.

On June 1st, 2023,  we lost the prolific Cynthia Weil who in partnership with husband Barry Mann gave us the most played recording of all time, “You've Lost That Loving Feeling”.Cynthia boarded The Mystery Train at 83 years of melody. If the songs, “I'm Gonna Be Strong”, “ I Don't Know Much”, “Soul and Inspiration”, “Blame It On The Bossa Nova”, “Kicks”, “ Magic Town”, “On Broadway”, “ Walking In The Rain” or “We Gotta Get Out Of This Place” mean anything to you, then you can grasp her remarkable contributions and this tremendous loss.Sleep Well Cynthia.You gave us so much Soul, Heart and Inspiration.1)   Bless You- Tony Orlando2)   Uptown- The Crystals3)   Where Have You Been All My Life- Arthur Alexander4)   Teen Age Has Been- Barry Mann5)   Blame It On The Bossa Nova- Eydie Gorme6)   I'm Gonna Be Strong- Gene Pitney7)    Only In America- Jay and The Americans8)    On Broadway- The Drifters9)     You've Lost That Loving Feeling- The Righteous Brothers10)   Walking In The Rain- The Ronettes11)    Saturday Night At The Movies12)   We Gotta Get Out Of This Place- The Animals13)    Magic Town- The Vogues  14)    Soul and Inspiration- The Righteous Brothers15)    KIcks- Paul Revere and The Raiders16)     Love Her- The Walker Brothers17)     You Baby- The Ronettes18)     It's A Happening World - The Tokens19)      See That Girl- The Righteous Brothers18)      Brown Eyed Woman - Bill Medley19)      Hungry- Paul Revere and The Raiders    20)     Just A Little Lovin'- Dusty Springfield 21)    I Can't Help Believing - Bobby Vee 22)    Don't Know Much-  Linda Rondstadt  and  Aaron Neville  23)     None Of Us Are Free - RayCharles 24)     Rock and Roll Lullabye- BJ Thomas 25)     I Really Want To Know You- The Partridge Family 26-    Running With The Night- Lionel Richie

About this program Host Terry Lipshetz is a senior producer for Lee Enterprises. Besides producing the daily Hot off the Wire news podcast, Terry conducts periodic interviews for this Behind the Headlines program, co-hosts the Streamed & Screened movies and television program and is the producer of Across the Sky, a podcast dedicated to weather and climate. Lee Enterprises produces many national, regional and sports podcasts. Learn more here. On the version of Hot off the Wire posted June 5 at 7:15 a.m. CT: A wayward and unresponsive business plane that flew over the nation's capital Sunday afternoon caused the military to scramble a fighter jet before the plane crashed in Virginia. California's attorney general says the state of Florida appears to have arranged for a group of South American migrants to be dropped off outside a Sacramento church. The United States military has released video of what it called an “unsafe” Chinese maneuver in the Taiwan Strait on the weekend, in which a Chinese navy ship cut sharply across the path of an American destroyer, forcing the U.S. vessel to slow to avoid a collision. Four people are dead and seven others were seriously injured after a car crossed the center line of a Missouri highway and struck five motorcycles. France's beloved abbey of Mont-Saint-Michel has reached a ripe old age. It's been 1,000 years since the laying of its first stone. Chuck Todd says he's leaving “Meet the Press” after a tumultuous near-decade of moderating the NBC political panel show and will be replaced by Kristen Welker. Prince Harry has become the royal family's most famous litigant in London. The Duke of Sussex has five active legal cases, three of them involving his battle with the British tabloids. It was a nip and tuck affair in the NBA Finals Sunday night. Lots of big individual performances in Major League baseball as well as numerous sweeps. And a close finish in the PGA Memorial tournament. “The Eric Andre Show” is back on Adult Swim. “Spider-Man: Across the Spider-Verse” opened in U.S. and Canadian theaters with a massive $120.5 million. And Cynthia Weil, a Grammy-winning lyricist of great range and endurance who enjoyed a decades-long partnership with husband Barry Mann and helped write "You've Lost That Lovin' Feeling," "On Broadway," "Walking in the Rain" and dozens of other hits, has died at age 82. —The Associated PressSee omnystudio.com/listener for privacy information.

Ken Kessler from the Sounds of Christmas talks about the recent passing of legendary songwriter Cynthia Weil and the rich legacy of music she has left us. He also talks about his favorite song of hers (co-written with her partner Barry Mann) - "Christmas Vacation"! Listen to the Sounds of Christmas station: https://www.soundsofchristmas.com/listen-now.htmlFind the Sounds of Christmas podcast: https://linktr.ee/socmusic  

Happy Valentine's Day! To celebrate love and rock and roll today I'll tell you all about three couples that made writing love songs to each other A BUSINESS! Starting from the masters, Boudleaux and Felice Bryant who wrote for The Everly Brothers and Buddy Holly, to two couples straight from the celebrated Brill Building, where most of the greatest hits of the 60s came from: meet Barry Mann and Cynthia Weil and Ellie Greenwich and Jeff Berry.

The brilliant singer-songwriter, David Pomeranz, has achieved success in virtually every entertainment medium. His songs have been recorded and performed by a long list of major artists including: Bette Midler, Kenny Loggins, Cliff Richard, Freddie Mercury, Kenny Rogers, Glen Campbell, Lou Rawls, John Denver, Missy Elliott, and Barry Manilow, who had international #1 hits with David's “Tryin' to Get the Feeling Again,” and “The Old Songs.” David's concert performances have delighted audiences worldwide. His recording and songwriting projects have earned him a total of 22 platinum and 18 gold albums, selling over 40 million records worldwide.At 19, Decca records signed David to a multi-album solo contract. He subsequently toured extensively with artists like: The Carpenters, Steely Dan, Air Supply, Randy Newman, Rod Stewart, The Doors and many more. David's solo albums include: "It's in Every One of Us,” "The Truth of Us,” “Time to Fly”, “New Blues,” “On This Day,” and “The Eyes of Christmas.”He's performed sold out concerts at The Kennedy Center, Hollywood Bowl, London Hippodrome, Universal Amphitheater, and hundreds more. David has written music and lyrics for major Motion Pictures like: "Big” and “King Kong." On TV, his songs have been featured on "Will and Grace,” “The Summer Olympic Games,” "Boston Legal,” “American Idol,” and Showtime's “Elvis Presley's Graceland,” for which he composed the score. He's also contributed songs to the hit London Musical, “Time,” starring Cliff Richard and Sir Laurence Olivier. For the Charlie Chaplin-based musical, “Little Tramp,' David wrote music, lyrics, and co-wrote the book with Steven Horwich. He also composed music for the Dickens classic, “A Tale of Two Cities” with lyrics by Steven Horwich and book by Steven Horwich and David Soames. And he composed the Tony-nominated musical, “Scandalous,” with Kathie Lee Gifford and composer, David Friedman.Beyond all that, David also hosts “SongSessions with David Pomeranz,” a popular podcast in which David talks shop with some of the most iconic songwriters of our time. Guests have included: Richard Marx, Melissa Manchester, Barry Mann, Paul Williams, Barry Manilow, Alan Bergman and more. SongSessions can be found at davidpomeranz.com and on major apps and platforms. 

Lee, Leah, and special guest host Gary Hill set sail for high adventure as they talk about the Brian Henson-directed "Muppet Treasure Island" (1996), starring Tim Curry. Is it a good adaptation of the source material, or is it just an excuse for silly Muppet hijinks? Does it even matter? How does this, the second post-Jim Henson Muppet production differ from past projects? The hosts also talk about what they've watched recently. Now go clean up the poop deck while giving us a listen, you scabby sea dogs! Check out Gary's podcasts here.  "Muppet Treasure Island" IMDB  Featured Music: "Treasure Island" & "Sailing for Adventure" by Han Zimmer, Barry Mann and Cynthia Weil; and an excerpt from the theme from "Super Gran" by Billy Connolly.

Episode 246, Deep in Doo Wop, presents some famous examples of this rhythm-and-blues offshoot genre along with some little-known doo-wop recordings. Performers include The Orioles, The Edsels, The Chantels, Barry Mann, The Mystics, The Del-Vikings,... Read More The post Episode 246, Deep in Doo Wop appeared first on Sam Waldron.

Every Monday on One FM Roman 'Koz' Kozlovski joins Breakfast announcer Terri Cowley for Kozie's Corner. Today he talks to fill-in Breakfast host Plemo about the songwriters Barry Mann and Cynthia Weil. This program originally aired on Monday the 7th of November, 2022. Listen to Terri Cowley live on weekday mornings from 6am-9am. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1

Tony Orlando - we love this man Tony Orlando and what a great great visit we had. If it goes on too long folks just take a break and two-part it. Whether he's talking about when he's 15 singing doo-wop with his group The 5 Gents or taking you through his years as a record executive and the unlikely calling he receives from the universe as to where and how he should proceed in life...you need to hear this story it is remarkable. He's basically under the wings of Don Kirschner, Carole King and Gerry Goffin, Cynthia Weil and Barry Mann - and nobody is famous yet but all will be. Enjoy this one folks because we could have talked for hours!

Can a love song teach you how to love your spouse better? The song we are referring to is One Hundred Ways by James Ingram. Fun Fact: The song was written by songwriter Kathy Wakefield, producer Ben Wright, and Tony Coleman. James Ingram was discovered (or maybe uncovered) by producer Quincy Jones to appear on his 1981 album, “The Dude.” Jones discovered Ingram on a demo of “Just Once,” written by Barry Mann and Cynthia Weil, which he sang for $50. One Hundred Ways lyrics: Compliment what she does Send her roses just because If it's violins she loves Let them play Dedicate her favorite song And hold her closer all night long Love her today Find one hundred ways Don't forget there could be An old lover in her memory If you need her so much more Why don't you say? Maybe she has it in her mind That she's just wasting her time Ask her to stay Find one hundred ways Bein' cool won't help you keep a love warm You'll just blow your only chance Take the time to open up your heart That's the secret of romance Sacrifice if you care Buy her some moonlight to wear If there's one more star she wants Go all the way In your arms tonight She'll reflect that she owes you The sweetest of debts If she wants to pay, find one hundred ways (Repeat) You better believe it or love her today Find one hundred ways I'm telling you to love her today Find one hundred ways Oh, love her, love her, lover her One hundred ways Yeah, you've got to love her today Find one hundred ways ==== Need relationship advice? Book a call today: https://couplespursuit.com/talk Support, donate, or partner with us, visit: https://grow.couplespursuit.com Listen to this podcast episode HERE, streaming on all major platforms like Apple Music, Spotify, Amazon Music, and Google Podcast! https://anchor.fm/couplespursuit Check out our weekly radio show on RedInk Radio here: https://www.redinkradiolive.com Join us for Couples Pursuit LIVE! every Wednesday and Thursday at 7:00 PM in our Facebook group: https://facebook.com/groups/couplespursuit All our Social Links: https://linktr.ee/couplespursuit To learn more, contact us or book a call with us: https://couplespursuit.com/talk

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio audio described theatre reviews. This week Vidar was reviewing the audio described performance of Beautiful - The Carole King Musical  at the Birmingham Hippodrome  Theatre on Saturday 3 September at 2.30pm with audio description by professional Describers Julia Grundy and Jonathan Nash. Long before she was Carole King, the chart-topping music legend, she was an ordinary girl with an extraordinary talent. Beautiful tells the inspiring true story of King's remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she wrote the soundtrack to a generation, with countless classics such as (You Make Me Feel Like) A Natural Woman, Take Good Care of My Baby, You've Got a Friend, So Far Away, It Might as Well Rain Until September, Up on the Roof, and The Locomotion. Vidar began by telling Toby that although this was the second time he had seen Beautiful - The Carole King Musical, he was struck by how many tunes Carole King had written that had become both hits for her and for other artists, how he felt there was a good balance between Carole King's story and her hits in this new production and how much the audio description by Julia and Jonathan enhanced his enjoyment of the show.  Beautiful - The Carole King Musical continues on tour around the UK and more details can be found by visiting the following website -https://beautifulmusical.co.uk/tour/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Welcome to the Instant Trivia podcast episode 578, where we ask the best trivia on the Internet. Round 1. Category: Hello, Newton! 1: Newton designed one of these that used mirrors in addition to lenses. telescope. 2: A student of this university's Trinity College, Newton graduated in 1665 without honors or distinction. Cambridge. 3: A falling apple gave Newton some ideas about what type of force could hold this heavenly body in its path. moon. 4: In the 1690s Newton was the bane of counterfeiters, introducing newly milled edges while working here. mint. 5: This English astronomer paid for the publication of Newton's masterwork, the "Principia". Edmond Halley. Round 2. Category: Sounds All Around 1: It can be a continuous low humming sound or a male bee. drone. 2: If you listen to your heart using a stethoscope, you'll hear the sound of these flaps opening and closing. valves. 3: In part of the Capitol dome, you can clearly hear distant sounds, making it this kind of "gallery". a whispering gallery. 4: The name of this instrument comes from the Italian for "little goose". an ocarina. 5: This rude noise is the last name of Toby, a character in "Twelfth Night". Belch. Round 3. Category: American Sign Language 1: It's the phenomenon being signed here. a rainbow. 2: This bulb is related to the lily. an onion. 3: The Beatles' Rocky knows the sign for this animal. a raccoon. 4: This area of land with a specific use is of grave importance. graveyard (cemetery). 5: Here is the sign for this geometry term. a perpendicular. Round 4. Category: Ding Dong 1: In 1967 this company introduced its chocolate-covered Ding Dong snack cakes. Hostess. 2: Continuing the alliteration, it follows "ding-dong" in a kid's prank that involves ringing a doorbell and running away. dash (ditch). 3: "Ding dong", it's this company "calling"; how about some lipstick or other cosmetic?. Avon. 4: 4-word title of the Barry Mann song that asks, "Who put the ram in the rama lama ding dong?". "Who Put The Bomp". 5: Judy Garland's "Ding Dong! The Witch Is Dead" surged on U.K. iTunes after this former prime minister passed away. Margaret Thatcher. Round 5. Category: Sinners 1: In 1988 this popular evangelist tearfully admitted on his national TV show that "I have sinned against you". Jimmy Swaggart. 2: Holiday in 1929 on which Chicago gangster Bugs Moran lost several members of his gang. St. Valentine's Day. 3: "I sin every single day", said this 2008 presidential candidate whose indiscretions keep coming to light. (John) Edwards. 4: Despite the nickname, this man said to have coined the term "G-men" reportedly never fired a shot during a crime. "Machine Gun" Kelly. 5: In a 1741 Jonathan Edwards sermon title, sinners were "in the hands of" this. an angry god. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Zebra is one of the great underrated bands of the 80's.  Randy Jackson (lead vocals, guitars, synthesizers, piano), Felix Hanemann (bass, keyboards, backing vocals) and Guy Gelso (percussion, backing vocals) formed Zebra in 1975 in New Orleans before moving to Long Island.  They were originally a cover band, playing rock with a prog rock bent from groups like Led Zeppelin, Yes, and Jethro Tull.  The band took the name Zebra after seeing a Vogue magazine cover featuring a model riding a zebra.  It would be eight years from their founding before this eponymously named album would be their debut.  Zebra the album would become one of the fastest selling debut albums in Atlantic's catalogue, peaking at number 29.  Jackson's high vocals paired with both acoustic and electric guitars, supplemented with synthesizers and special effects would create a commercial success straddling the hard rock and prog rock genres.Unfortunately, their debut album would also be their high water mark.  Zebra would produce a follow-up album which would hit the charts at number 84, then two more which would not chart.  Zebra took a brief hiatus in the early 90's, but the power trio would get back together and are still touring as of this podcast.Rob brings us this album. Who's Behind the DoorThis single hit number 61 on the Billboard Hot 100, and number 10 on the US Rock charts.  The lyrics question death and what may lie beyond.  It starts with an amazing 12-string acoustic riff and ends with an epic space-aged wall of sound.  Jackson's high tenor parts are prominent.When You Get ThereThis deeper cut takes a humorous approach to infidelity and a one-night stand.  “You wake up in the morning and you're not feeling quite the same.  You feel a gentle hand upon you, but you seem to have forgotten her name.”The La-La Song This song goes back many years to their touring days.  It has a distinctive prog rock feel. Tell Me What You WantIn our minds, this opening track from the album is reminiscent of the Alan Parson's Project or Def Leppard.  Its minor key and angst-filled lyrics depict the struggles a boy has with a girl to whom he gives everything and finds it is not enough.  ENTERTAINMENT TRACK:Maniac by Michael Sembello (from the motion picture “Flashdance”)This dance movie starring Jennifer Beals hit the screen in 1983. STAFF PICKS:Never Gonna Let You Go by Sergio Mendes Bruce starts off the staff picks with a ballad that Rick Beato calls "the most complex pop song of all time."  Originally written in 1982 by Cynthia Weil and Barry Mann and recorded by Dionne Warwick, there are 7 key changes by the time the chorus is reached.  Sergio Mendes would take this song to number 4 on the Billboard Hot 100.Separate Ways (Worlds Apart) by Journey  Brian brings us the first single off the "Frontiers" album.  It is a break-up song written by Jonathan Cain and Steve Perry while they were on the road.  It was inspired by band members going through difficult divorces, and was premiered during the "Escape" tour.  The video...well, it leaves something to be desired.Say What You Will  by FastwayWayne rocks out with a one-hit wonder from their debut self-titled album.  Fastway is a heavy metal band from Britain, and band members have connections to Motorhead and UFO.  The name comes from the combination of guitarist "Fast" Eddie Clarke and bassist Pete Way.  Dave King is on lead, and would move on to the Irish band Flogging Molly.True by Spandau BalletRob's staff pick is a staple of the 80's.  PM Dawn sampled this song, and gave the original a second life.  The lyrics were written as a tribute to Marvin Gaye - "Listen to Marvin all night long.  This is the sound of my soul."  This was the 6th biggest selling single of 1983 and Spandau Ballet's biggest hit. COMEDY TRACK:Intro to Monty Python's The Meaning of LifeThe third Monty Python motion picture “The Meaning of Life” is great just because it had something to offend everyone.

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. 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 As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

Two brand new, exclusive interviews this week with two of the most legendary songwriters of all time - both members of the Rock & Roll and Songwriters Halls Of Fame - Jeff Barry and Barry Mann. Both are synonymous with the iconic Brill Building era of the 1960's but their evergreen hits continued well into the decades of the 70's, 80's and beyond. The songs written by Jeff (with his then-wife Ellie Greenwich and others) and by Barry (with his wife Cynthia Weill and others) are still heard literally every day all over the world. Jeff tells us all about the iconic hits he wrote like “Da Doo Ron Ron,” “Be My Baby” and “River Deep Mountain High,” as well as his work with Phil Spector, Bert Berns and Norman Lear. Barry shares how he and Cynthia met, winning Grammy's Song of the Year in 1987 for “Somewhere Out There” and creating the most performed songs of the entire 20th century, “You've Lost That Lovin' Feeling.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Two brand new, exclusive interviews this week with two of the most legendary songwriters of all time - both members of the Rock & Roll and Songwriters Halls Of Fame - Jeff Barry and Barry Mann. Both are synonymous with the iconic Brill Building era of the 1960's but their evergreen hits continued well into the decades of the 70's, 80's and beyond. The songs written by Jeff (with his then-wife Ellie Greenwich and others) and by Barry (with his wife Cynthia Weill and others) are still heard literally every day all over the world. Jeff tells us all about the iconic hits he wrote like “Da Doo Ron Ron,” “Be My Baby” and “River Deep Mountain High,” as well as his work with Phil Spector, Bert Berns and Norman Lear. Barry shares how he and Cynthia met, winning Grammy's Song of the Year in 1987 for “Somewhere Out There” and creating the most performed songs of the entire 20th century, “You've Lost That Lovin' Feeling.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Music by Barry Mann and Lyrics by Dan Hill 1977Dan Hill YouTube Channelhttps://www.youtube.com/channel/UCcnU...Cover by Franco Cianflone at GS studios Hosted on Acast. See acast.com/privacy for more information.

Tony Orlando plays the greatest hits of all time.  Tonight, Tony spotlights Barry Mann and also interviews him.  Tony also talks to Brooks Arthur

In this episode, one our missionaries, Barry Mann, sits down with Molula. Born and raised in Lesotho, Molula participated in the Farming God's Way programme at Growing Nations in Maphutseng after completing school. She now uses Farming God's way as she serves as a missionary in Cambodia, working with young children.

Beautiful: The Carole King Musical is jam-packed with so many songs we all know and love. Catch the show when it's in town this week, playing February 22nd-27th at the Academy of Music. Listen as Kristen speaks with Ryan Farnsworth who plays Barry Mann in the show.  Buy your tickets for Beautiful at KimmelCulturalCampus.org. Find more on Ryan at RyanFarnsworth.net.  

KFOR's Dale Johnson talks with Ryan Farnsworth plays the role of Barry Mann in the hit musical, "BEAUTIFUL - The Carole King Musical"

Judy Stakee is a world-renowned artist development specialist, author, and speaker. Her songwriting methodology has kickstarted and shaped the careers of today's most acclaimed songwriters and artists.With over four decades of music experience, Judy has earned an industry reputation as the champion of the songwriter. During her 20 years as Senior VP of Creative at Warner Chappell Music, Judy signed, developed, and managed their star roster including Grammy-award winner Sheryl Crow, Michelle Branch, Jewel, Gavin DeGraw, John Shanks, Wayne Kirkpatrick, Scott Cutler, and Anne Previn, Julian Bunetta, Kevin Kadish, and Franne Golde.Before joining Warner Chappell, Judy worked with legendary record producer Clive Davis at Arista Music and acted as General Professional Manager at Screen Gems Music, where she signed and developed the songwriting careers of Rick Nowels and Grammy-nominated songwriter Scott Cutler. She also looked after Carole King, Gerry Goffin, Barry Mann, and Cynthia Weil, whose catalogs were housed at Screen Gems.Judy holds a Bachelor's Degree in Music from the University of Southern California. She is a past president of the National Songwriters Association, former governor of NARAS (LA Chapter), and a songwriter and vocalist in her own right. She has garnered hundreds of BMI and ASCAP awards for her writers and numerous Grammy, MTV, CMA, and AMAs.

The guests for this episode are Sara Sheperd and James D. Gish, who play the roles of Carole King and Gerry Goffin respectively in Beautiful: The Carole King Musical. Carole King has long been one of the most prolific songwriters for decades. Beautiful is the story of her rise to a legendary status in the history music, detailing her songwriting partnership with her husband Gerry Goffin along with their relationship with fellow songwriting team Cynthia Weil and Barry Mann. It's the story of true determination, where the good and bad times of her life helped shape the person she would become. During our conversation, we talked about being back on stage after the pandemic lockdowns, how things have changed in regards to workers rights, how they prepared for their roles, the accessibility of Beautiful to your casual audience member, and much more. Beautiful: The Carole King Musical will hit the Fisher Theatre in Detroit for a limited run from January 4-9, 2022. For more information and to purchase tickets, visit broadwayindetroit.com or beautifulonbroadway.com. SPECIAL NOTE: All Guests attending these performances must show proof of a Negative Covid Test (taken within 72 hours of your performance) OR proof of Full Vaccination (at least 14 days after your second dose) with a government issued ID prior to admittance to the theatre. Additionally – all guests must wear face coverings while in the theatre unless actively eating or drinking, regardless of vaccination status. SUBSCRIBE/RATE/REVIEW FRESH IS THE WORD: Subscribe on all major streaming platforms. Please rate and review on Apple Podcast and Stitcher. List of where Fresh is the Word streams: linktr.ee/freshisthewordpodcast or just search “Fresh is the Word”. Also available on IHeartRadio. THEME MUSIC Courtesy of STEVE O. Check out more music at eyeamsteveo.bandcamp.com. Support via Patreon If you want to support Fresh is the Word, please consider pledging via Patreon at Patreon.com/freshistheword. --- Send in a voice message: https://anchor.fm/freshistheword/message

We're going out with a bang this week. Our last movie of 1987 is the controversial unofficial sequel to the classic Disney movie Pinocchio. Released December 25th in 1987, it follows our hero as he disobeys all the adults in his life and joins an evil circus. He then has to go up against legal documents, underage drinking, creepy bugs, and James Earl Jones as the Emperor of the Night. Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Twitch: https://www.twitch.tv/kegelandgregmusic  - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ - Twitter: https://twitter.com/ZackoCaveWizard Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Hour 3 -  Nick reed talks about a variety of topics in the news, including: A man near death recovered from COVID-19 over the weekend after an Illinois court ordered the hospital to treat him with ivermectin. Dr. Paul Marik, a doctor at the center of a Virginia lawsuit against a health care employer that banned the use of certain kinds of medicine to fight COVID-19, told The Daily Wire in an interview Tuesday that his case is fundamentally about the ability of medical physicians to care for their patients as they see fit based on their expertise. In other words, it's about “letting doctors be doctors.” ALSO -  Isaiah Bailey with “Beautiful - The Carole King the Musical," joins us this morning: “Beautiful - The Carole King the Musical," is coming to Juanita K. Hammons Hall! BEAUTIFUL—The Carole King Musical tells the inspiring true story of King's remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history.

Roger Ashby goes behind the hits of your favourite songs from the 50s, 60s and 70s. Listen to The Roger Ashby Oldies Show anytime on the iHeartRadio app.

Grammy-winning producer, singer, and songwriter, Steve Tyrell, shares his life story with award-winning journalist, host, and creator of the Little Italy Podcast, Deborah Zara Kobylt.  Steve chats about his upcoming album, his mega-successful career music career, his radio show, and of course his Italian roots.Steve's breakthrough performances in Father of the Bride and Father of the Bride II helped Tyrell reinvent and re-popularize classic pop standards for a modern-day audience. His hits, The Way You Look Tonight, The Simple Life, Crush On You, and The Sunny Side of The Street, have launched millions of romances and been played at thousands of weddings, including Chelsea Clinton's. He also sang for Prince Charles, at his request, in London. What an experience that was!As an artist, all 9 of his American Standards albums have achieved top 5 status on Billboard's Jazz charts. His first album, A New Standard, was amongst the best selling jazz albums for more than 5 years. Steve's latest album, That Lovin' Feeling, debuted in the top 5. On it, he celebrates what he calls the Great American Songbook 2, featuring seminal rock era classics penned by legendary songwriters, including Carole King, Burt Bacharach, Neil Sedaka, Barry Mann and Cynthia Weil, Mike Stoller and Jerry Leiber, among others.We hope you enjoy our Little Italy of LA  podcast with Deborah Zara Kobylt, who also hosts the award-winning Deborah Kobylt LIVE, interviewing authors, actors, and change makers from around the globe.  Support the show (https://www.paypal.com/biz/fund?id=GYVQXMPXJL9D4)

Pinch me, because #Grammy award-winning producer and vocalist #SteveTyrell is in the house, joining me on our Little Italy of LA and Deborah Kobylt LIVE podcasts discussing his new CD, #ShadesOfRay, among other things. Steve's family is from Sicily, and we'll be talking about his Italian roots on our show, where he reminisces about growing up in Houston, where he also first got the bug to perform. Steve has been in the music business nearly five decades, with 9 of his records reaching top 5 on the Billboard Jazz charts. His latest album, That Lovin' Feeling, features classics written by some his long-time friends, such as the legendary Burt Bacharach, Neil Sedaka, Barry Mann and others. He's got so many incredible stories to share, from performing for Prince Charles in London (one of my favs) to his breakthrough performance, singing in film classic, #FatherOfTheBride. He recently performed at the Catalina Club in LA, has had a residency at the Carlyle in NY. In between performing, he now hosts a radio show, too. Please enjoy our show, where Steve even sings a tune for us, too. #DeborahKobyltLIVE and #LittleItalyOfLA available on all video and audio platforms, hosted by #DeborahZaraKobylt #Italianamericanartist #jazz Little Italy of Los Angeles Association Deborah Zara Kobylt Steve Tyrell Fan Page

Join us in episode 6 to understand out how THIS song, Till There Was You is somehow connected to the song Will Rock You, by the rock band, Queen! Discover how we, indeed, establish a bona-fide connection between these two songs – AND, how we connect Till There Was You to many other Beatles classics!So settle in for a series of revelations that you will find entertaining and informative!SongsTill There Was You, Meredith Willson, performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)On Broadway, Barry Mann, Cynthia Weil, Jerry Leiber, Mike Stoller; performed by Mike SugarRight Place, Wrong Time, Mac Rebennack; performed by Mike Sugar and Joe AnastasiStory Time Music; composed and performed by Mike SugarDocu-inspiration theme; composed and performed by Mike SugarP.S. I Love You, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)It Won't Be Long, Lennon and McCartney; performed by Joe Anastasi and Mike SugarI Saw Her Standing There, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)Hello Goodbye, Lennon and McCartney; performed by Joe Anastasi and Mike SugarOh! Darling, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)Let It Be, Lennon and McCartney; performed by Mike SugarIf I Fell, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)You Won't See Me, Lennon and McCartney; performed by Joe Anastasi, Mike Sugar, and WinterFrom Me to You, Lennon and McCartney; performed by Joe Anastasi and Mike SugarTwist and Shout, Bert Berns and Phil Medley; performed by Joe Anastasi and Mike SugarKansas City / Hey, Hey, Hey, Hey, Jerry Leiber / Mike Stoller / Richard Penniman; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)Long, Tall Sally, Enotris Johnson, Robert Blackwell, Richard Penniman; performed by Joe Anastasi and Mike SugarThus Spake Zarathustra, Richard Wagner; performed by Mike SugarFerry Cross the Mersey, Gerry Marsden; performed by Joe Anastasi and Mike Sugar;You'll Never Walk Alone, Rogers and Hammerstein; performed by Joe Anastasi and Mike SugarAbandon the Run Interstitial - based on Paul McCartney's Band On The Run, created and performed by Mike SugarWe Will Rock You, Brian May, performed by Joe Anastasi and Mike SugarNothing Rhymed, “Gilbert” O'Sullivan; performed by Joe Anastasi and Mike SugarThe End, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)Penny Lane, Lennon and McCartney; guitar intro performed by WinterAnd the great Dan Castellaneta, the voice of Homer Simpson!Sources:The Music Man https://en.wikipedia.org/wiki/The_Music_ManWhat Songs the Beatles Sang, William Mann; The Times; December 27, 1963.Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006.Anfield's 50 years of never walking alone, Simon Hart; The Independent; October 25, 2013.Gilbert O'Sullivan – Interview; The Danny Baker Show; February, 2016Mike Pachelli – YouTube https://www.youtube.com/watch?v=VdYoK2klGqM

Episode 6 Till There Was You – and Many MoreJoin us in episode 6 to understand out how THIS song, Till There Was You is somehow connected to the song We Will Rock You, by the rock band, Queen! Discover how we, indeed, establish a bona-fide connection between these two songs – AND, how we connect Till There Was You to many other Beatles classics!So settle in for a series of revelations that you will find entertaining and informative!SongsTill There Was You, Meredith Willson, performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)On Broadway, Barry Mann, Cynthia Weil, Jerry Leiber, Mike Stoller; performed by Mike SugarRight Place, Wrong Time, Mac Rebennack; performed by Mike Sugar and Joe AnastasiStory Time Music; composed and performed by Mike SugarDocu-inspiration theme; composed and performed by Mike SugarP.S. I Love You, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)It Won't Be Long, Lennon and McCartney; performed by Joe Anastasi and Mike SugarI Saw Her Standing There, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)Hello Goodbye, Lennon and McCartney; performed by Joe Anastasi and Mike SugarOh! Darling, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)Let It Be, Lennon and McCartney; performed by Mike SugarIf I Fell, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)You Won't See Me, Lennon and McCartney; performed by Joe Anastasi, Mike Sugar, and WinterFrom Me to You, Lennon and McCartney; performed by Joe Anastasi and Mike SugarTwist and Shout, Bert Berns and Phil Medley; performed by Joe Anastasi and Mike SugarKansas City / Hey, Hey, Hey, Hey, Jerry Leiber / Mike Stoller / Richard Penniman; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott)Long, Tall Sally, Enotris Johnson, Robert Blackwell, Richard Penniman; performed by Joe Anastasi and Mike SugarThus Spake Zarathustra, Richard Wagner; performed by Mike SugarFerry Cross the Mersey, Gerry Marsden; performed by Joe Anastasi and Mike Sugar;You'll Never Walk Alone, Rogers and Hammerstein; performed by Joe Anastasi and Mike SugarAbandon the Run Interstitial - based on Paul McCartney's Band On The Run, created and performed by Mike SugarWe Will Rock You, Brian May, performed by Joe Anastasi and Mike SugarNothing Rhymed, “Gilbert” O'Sullivan; performed by Joe Anastasi and Mike SugarThe End, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)Penny Lane, Lennon and McCartney; guitar intro performed by WinterAnd the great Dan Castellaneta, the voice of Homer Simpson!Sources:The Music Man https://en.wikipedia.org/wiki/The_Music_ManWhat Songs the Beatles Sang, William Mann; The Times; December 27, 1963.Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006.Anfield's 50 years of never walking alone, Simon Hart; The Independent; October 25, 2013.Gilbert O'Sullivan – Interview; The Danny Baker Show; February, 2016Mike Pachelli – YouTube https://www.youtube.com/watch?v=VdYoK2klGqM

Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul".  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. 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/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show.  But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes.  But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course.  For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap".  But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime.  The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of  the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used.  Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US.  In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him.  Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot.  So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK.  But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists. 

It's another episode of The Bluth, the Whole Bluth, and Nothing But the Bluth, and this time we think we may have watched A Troll in Central Park. It's all sort of a blur. What did we talk about? Who can say? Probably a little about Dom DeLuise, a little about magic shape-shifting dream boats, and there may have been a witch involved. Talking flowers? You'll just have to listen and find out! Links: Buy A Troll in Central Park on DVD https://amzn.to/2OicMch Stream A Troll in Central Park https://amzn.to/2CSyaiY Or just… watch A Troll in Central Park for free on YouTube http://bit.ly/2puMThe Listen to the A Troll in Central Park Soundtrack http://bit.ly/2OicGBr A written excerpt on the early development of the film http://www.cataroo.com/DBbeyond.html Early storyboards for lost or alternate scenes http://bit.ly/3795TTv http://bit.ly/358wYEf http://bit.ly/2qUJSqJ A Dragon's Lair the Movie website post about working in Ireland http://dragonslairthemovie.com/happy-st-patricks-day-2016 Follow Dax https://www.instagram.com/daxschaffer https://twitter.com/DaxSchaffer Follow Sara https://www.instagram.com/saraiyer https://twitter.com/saraanjuliiyer Follow the Podcast on Instagram https://www.instagram.com/nothingbutthebluth Like the Podcast on Facebook https://www.facebook.com/TheBluthTheWholeBluthAndNothingButTheBluth Check out Dax's other pod, Cineppraisal @Cineppraisal on FB/Twitter/IG https://anchor.fm/cineppraisal A Troll in Central Park music by Robert Folk with lyrics by Bruce Sussman and Jack Feldman with lyrics by Barry Mann, Cynthia Weil, and Norman Gimbel Audio clips are (mostly) from A Troll in Central Park, created by Don Bluth Ireland Ltd.

On episode four of The Bluth, the Whole Bluth, and Nothing But the Bluth, we're joined by a full dino squad -- Steven Ray Morris (See Jurassic Right), Christian Humes (ZyteHeist), and Grayson Kent (Rock & Roll Reptiles) -- to reminisce about the beloved and very sad film from our childhoods, The Land Before Time! Have you ever wondered whether you're a Littlefoot or a Cera? Do you spend your free time debating the paleontological accuracy of dinosaurs in animated films? Or are you just a James Horner stan, craving more Horner content? There's something for everyone! Tune in every first and third Bluthsday (Tuesday) of the month for new episodes! Links: The Land Before Time Bluth-Ray: https://amzn.to/2W8tehi The Land Before Time Soundtrack: http://bit.ly/2QKKJTW Fantasia: Rite of Spring: http://bit.ly/2IjswZL Trailers (original + sequels): http://bit.ly/2IjYogQ Interview with Stu Krieger: http://bit.ly/2Kqg1hq Deleted Scenes: http://bit.ly/2Z80G9o http://bit.ly/2WeFGfl https://youtu.be/mYEbBaFt3QM Follow Steven: https://www.instagram.com/stevenraymorris https://twitter.com/stevenraymorris See Jurassic Right: https://play.acast.com/s/jurassicright Follow Christian: https://www.instagram.com/christian_humes https://twitter.com/christian_humes ZyteHeist: https://zyteheist.com Rock & Roll Reptiles (Grayson): https://www.facebook.com/RockNRollReptiles Follow Dax: https://www.instagram.com/daxschaffer https://twitter.com/DaxSchaffer Follow Sara: https://www.instagram.com/saraiyer https://twitter.com/saraanjuliiyer Follow the Podcast on Instagram: https://www.instagram.com/nothingbutthebluth Like the Podcast on Facebook: https://www.facebook.com/TheBluthTheWholeBluthAndNothingButTheBluth The Land Before Time music by James Horner “If We Hold On Together” music and lyrics by James Horner, Barry Mann, and Will Jennings Audio clips are from The Land Before Time, created by Sullivan Bluth Studios/Amblin Entertainment; Jurassic Park, created by Amblin Entertainment; and Watership Down, created by Nepenthe Productions