Podcast appearances and mentions of barry mcguire

If you grew up in the 1960s or ‘70s, it seemed like many of the songs on the radio were answering other songs on the radio.Roger Miller sang, “King of the Road,” and Jody Miller answered it with “Queen of the House.” Barry McGuire sang “Eve of Destruction,” only to be called out by a group named The Spokesmen with their "Dawn of Correction.” Merle Haggard sang of the “Okie from Muskogee” and drew a prompt reply from The Youngbloods' “Hippie from Olema.”Big NamesSome famous songsmiths also penned answer songs. In 1966, for instance, Bob Dylan's “4th Time Around” was a rather famous response to The Beatles' “Norwegian Wood” of the previous year. And Bob's first hero, Woody Guthrie, is said to have written his greatest song, “This Land Is Your Land,” in 1940 as an answer to Irving Berlin's “God Bless America.” (In fact, Woody originally called his composition "God Blessed America for Me.”)In 1959, one of Carole King's first songs was one she wrote as a reply to Annette Funicello's “Tall Paul.” It contained a classic line, “You can keep Tall Paul / I'll take Short Mort."Meat Loaf wrote “Two Out of Three Ain't Bad” in 1977 as an answer to Elvis Presley's 1956 hit “I Want You, I Need You, I Love You.”And some artists even recorded answers to their own songs. In 1963, for instance, Lesley Gore released “It's My Party,” followed by “Judy's Turn to Cry.” Both of the tunes appeared on Gore's debut album I'll Cry If I Want To.Country artists can get a bit edgy with their call and response. Loretta Lynn's 1967 release of “Don't Come Home a-Drinkin' (With Lovin' on Your Mind)” prompted a quick retort from Jay Lee Webb, called, "I Come Home A-Drinkin' (To a Worn-Out Wife Like You).”And some answer songs turned into multi-player comic discourses. For instance, in 1972, The Last Poets' "When the Revolution Comes” inspired Gil Scott-Heron to wax “The Revolution Will Not Be Televised,” which in turn led to Roy Clark's recording “The Lawrence Welk-Hee Haw Counter-Revolution Polka.”The Flood's FavMeanwhile, in the Floodisphere, the best-loved answer song comes from a pair of tunes written more than a hundred years ago.As we reported here earlier, W.C. Handy's 1915 classic “Yellow Dog Blues” — a melodic mainstay that reaches from the glory days of Bessie Smith and Louis Armstrong all the way to today's trad jazz standard bearers — was actually composed as an answer to Shelton Brooks' wonderful 1913 composition called, “I Wonder Where My Easy Rider's Gone.” In recent back-to-back weekly rehearsals, The Flood has revisited both tunes. First came the Brooks original two weeks ago, then, last week, the guys turned to Handy's dandy reply. In The Flood's estimation, “Yellow Dog Blues” is the best of the pair. There are a lot of train songs out there, but none of them takes its riders quite as far as this one. Come along to where “the Southern cross the Yellow Dog!”More, You Say?Finally, if blues is your bag and you want to extend your Friday foray into Floodery, tune in the Blues Channel on the band's free Radio Floodango music streaming service. Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Unlocked Patreon episode. Support Ordinary Unhappiness on Patreon to get access to all the exclusive episodes. patreon.com/OrdinaryUnhappinessIn a perfect pairing with our ongoing series on Lacan, we come in from the cold and go underground by watching Theodore Flicker's neglected classic, “The President's Analyst” (1967). James Coburn stars as a psychoanalyst drafted to serve as the president's shrink, and who swiftly goes from starstruck to depleted to a fugitive on the run. This satiric romp hit a nerve with the FBI, was censored in post-production, and quickly disappeared from theaters. A loving sendup of psychoanalysis, an acid-addled dramatization of Cold War anxieties, and just a gonzo all-around-good time, the film gives us plenty to talk about, from the paranoic structure of knowledge to the Big Other of surveillance to unorthodox cures for “hostility” to J. Edgar Hoover's secret flirtations with self-analysis and more. Beverly Gage's biography of J. Edgar Hoover is G-MAN: J. Edgar Hoover and the Making of the American Century. You can listen to Barry McGuire's “Inner-Manipulations” (featured in the film) here: https://www.youtube.com/watch?v=WU7F_u9L5X8Have you noticed that Freud is back? Got questions about psychoanalysis? Or maybe you've traversed the fantasy and lived to tell the tale? Leave us a voicemail! (646) 450-0847  A podcast about psychoanalysis, politics, pop culture, and the ways we suffer now. New episodes on Saturdays. Follow us on social media:  Linktree: https://linktr.ee/OrdinaryUnhappiness Twitter: @UnhappinessPod Instagram: @OrdinaryUnhappiness Patreon: patreon.com/OrdinaryUnhappiness Theme song: Formal Chicken - Gnossienne No. 1 https://open.spotify.com/album/2MIIYnbyLqriV3vrpUTxxO Provided by Fruits Music

Callers discuss the relevance of Barry McGuire's song 'Eve Of Destruction' in today's political climate. Should Irish people use Irish more on an everyday basis? Gerry avoids Dorset Street as he brings tours from Dublin Airport to the City Centre.

Welcome to “The Drive” with Alan Taylor, featuring John Buck, owner of the Grand National Roadster Show, celebrating its 75th anniversary. Taylor reminisced about his introduction to the show over 30 years ago through automotive icon Barry McGuire, who continues... The post The Contemporary 2025 Volvo C40 Recharge | #597 appeared first on THE DRIVE with Alan Taylor.

Do androids dream of electric California? Covers by: Jose Feliciano, Bobby Womack, The Beach Boys, Die Geschwister Pfister, Safari, Sia, Freischwimmer, Leo Tidal playlist here

Con Amy Winehouse, The Zutonsd, Mark Ronson, VoicePlay feat. Omar Cardona, Peter Paul & Mary, Bob Dylan, the Byrds,Four Tops, the Rolling Stones, Sonny & Cher, Barry McGuire, Pete Seeger, the Beatles y Johnny Johnson & The Bandwagon.

Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com   Hosts: Wayne and Gabby Hillier Edmonton Alberta Real Estate Investors Coaches at the Real Estate Investing Masters Mentorship Program

Rubber Soul was the sixth studio ablum released by The Beatles in the US and the UK.  The album was largely recorded in October of 1965 over a four week period, and relesed in December of 1965.  The Fab Four had completed their North American tour by August, and had returned to London to compose this album.  It would be the first album they completed without the pressure of commitments to tour, film, or otherwise make public appearances.  Nevertheless, the band was working under tight timelines, intending to release the album before the Christmas sales cycle.  It would go to the top of the album charts and would be one of the biggest albums of 1966, charting at number 3 in the UK and number 4 in the US for the year.The name of the album is a bit of self deprecation.  The term "plastic soul" was used at the time to describe some artists' attempts to duplicate the sound of black American soul music, and the Beatles recognized their efforts as less-than authentic.  It also has a double meaning, referencing the Wellington boot worn in rural northern England.The album  combines elements of folk rock, soul, progressive rock, and the newly-emerging psychedelic sound.  It would set a new standard with rock groups, encouraging the creation of high quality albums rather than just making a string of singles that were merged onto an LP record.  It also shows the increasing maturity of the group in lyrics and music.  Lynch brings us this classic album from one of the greatest rock bands of all time, and friend of the show Mike Fernandez sits in while Bruce is out. Baby You Can Drive My CarThe opening track was written by Lennon and McCartney.  The lyrics are told from the perspective of a woman who expects to be a big star, and offers the man the opportunity to be her chauffeur.  At the end you find out that she doesn't have a car, but at least now she has a chauffeur.  Norwegian WoodIt really isn't possible to have a deeper cut when you're talking about the Beatles, but this may be as close as we can get.  John Lennon is the primary writer - with some contributions from Paul McCartney - and the lyrics discuss an extramarital affair he had in London.  George Harrison plays sitar on this song, and it is the first use of that instrument recorded in a major release in the rock world. In My LifeThe lyrics from this song were written by John Lennon, and is perhaps the first time he wrote a song inspired from his childhood.  George Martin plays the piano on the bridge, but recorded it at half speed.  This creates the tinny harpsicord feel when the song is run at full speed.MichellePaul McCartney is the primary writer of this song, inspired by the popularity of Parisian "Left Bank" culture, and contains french lyrics despite McCartney's lack of fluency in the language.  The music was partially inspired by chet Atkin's finger picking style.  McCartney began writing the song in 1958, and it went to number 1 in France where it was released ahead of the album. ENTERTAINMENT TRACK:The James Bond Theme (from the motion picture “Thunderball”)This was the fourth film in the spy series starring Sean Connery as James Bond.  It was originally planned to be the first film of the series, but was pushed back due to legal disputes. STAFF PICKS:Treat Her Right by Roy Head and the TraitsWayne leads off the staff picks with a short, happy, party song.  While this may have a surf song vibe, the band is from Texas.  The lyrics tell about how a guy is supposed to treat a woman, and the benefits thereof.  The song peaked at number 2, and is the best known song by the group.  Hang On Sloopy by the McCoysRob brings us a song originally recorded by the Vibrations in 1964 with the title "My Girl Sloopy."  A jazz singer in Ohio named Dorothy Sloop inspired the name.  The McCoys version went to number 1 on the pop charts, and would be picked up by a number of garage bands.  Rick Derringer is the front man for the group.California Girls by The Beach BoysMike's staff pick is a well-known song from the album "Summer Days (And Summer Nights!!)" by the group.  Brian Wilson conceived the song during an acid trip, thinking about film scores from Westerns and - of course - girls.Eve of Destruction by Barry McGuireLynch closes out the staff picks with a protest song often covered.  P.F. Sloan wrote this song after the Kennedy assassination, the Gulf of Tompkin military action, and other social upheaval of the early to mid-60's.  American media used this song as an example of what was wrong with youth culture, counterintuitively driving the popularity of the song. INSTRUMENTAL TRACK:Hole in the Wall by The PackersThis jazz instrumental closes out this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

"Don't seem right, I've been strung out here all nightI've been waiting for the taste you said you'd bring to meBiscayne Bay, where the Cuban Gentlemen sleep all dayAre you with me Doctor WuAre you really just a shadowOf the man that I once knewCan you hear me Doctor"Please join me and Doctor Wu on the Sunday Edition of Whole "Nuther Thing. Joining us are Nick Drake, The Byrds, Joan Baez, Sandy Denny, John Waite, Fleetwood Mac, Toto, Iain Matthews, Bob Dylan, Flo & Edie, Graham Nash, Bruce Springsteen, Richard Thompson, Peter Paul & Mary, The Wallflowers, Tom Petty & The Heartbreakers, John Mellencamp, Lovin' Spoonful, Barry McGuire, Bob Seger, Dire Straits, John Denver, Chris Isaak, Gregg Allman, Crosby Stills & Nash, We Five, The Turtles, Jaynetts, Tim Hardin, Mamas & Papas and Steely Dan.

"We had no home front, we had no soft soapThey sent us Playboy, they gave us Bob HopeWe dug in deep and shot on sightAnd prayed to Jesus Christ with all of our mightWe had no cameras to shoot the landscapeWe passed the hash pipe and played our Doors tapesAnd it was dark, so dark at nightAnd we held on to each other, like brother to brotherWe promised our mothers we'd write...Join me this afternoon, I'll be paying tribute to those that serve and served to protect our freedoms in ou r 4PM hour. Joining us are Earth Opera. Tim Buckley, Richie Havens, Bob Dylan, Bruce Springsteen, Simon & Garfunkel, Beatles, Doors, Procol Harum, Peter Paul & Mary, Grass Roots, The McCoys, Shangri-Las, Johnny Rivers, Mamas & Papas, Rolling Stones, John Mellencamp, Tom Paxton, Orpheus, Spanky & Our Gang, The Monkees, Tommy James, Aaron Lewis, Barry McGuire and Billy Joel.

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

REIcon Investor Conference! Live in Edmonton on June 15th & 16th Pre-Sale Tickets End on April 15th www.reiconference.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop Saturday April 27th 2027 Co-Hosted by Barry McGuire https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

5 Year Anniversary of Podcasting!  This year is our 5th year in podcasting and boy what a journey it has been. 700 Episodes. As we come into our 10th Season of the Real Estate Investing Morning Show Podcast we thought it would be fun (and painful) to re-release our VERY first episode. This was back when Wayne was still operating under the Real Estate Investor Dad Podcast. It's pretty hard to listen to but we hope that you enjoy it. And also let it be a reminder to never worry about how bad you think it is or what people are going to think. You're always going to suck when you start, but as Barry McGuire says "It's better to get started than to be perfect". Thanks to all of our loyal listeners

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

We're diving into the Podcast Vault while we're away!   Mortgage Financing Online Workshop Saturday April 6th 2024 Co-Hosted by Keaton Kirkwood mortgagefinancingworkshop.eventbrite.ca   Joint Venture Focus Workshop  Co-Hosted by Barry McGuire and Wayne Hillier Saturday April 27th 2024 https://barrymcguire.ca/shop/jv-focus-workshop/   Interested in joining the REI Masters Mentorship Program? Head to www.reimasters.ca Or email us at info@reimasters.ca   Got a question you'd like answered on the show? Email us at info@reimorningshow.com

Famous sixties singer Randy Sparks passed away on February 11, 2024, the very day this particular show first aired live over the radio. Randy was founder of The New Christy Minstrels and co-wrote their biggest hit song, Green Green with Barry McGuire. As it happens, Bob's co-host Jim Berrier is good friends with Barry McGuire […]

Famous sixties singer Randy Sparks passed away on February 11, 2024, the very day this particular show first aired live over the radio. Randy was founder of The New Christy Minstrels and co-wrote their biggest hit song, Green Green with Barry McGuire. As it happens, Bob's co-host Jim Berrier is good friends with Barry McGuire […]

Subscribe to get access to the full episode, the episode reading list, and all premium episodes! www.patreon.com/OrdinaryUnhappinessIn a perfect pairing with our ongoing series on Lacan, we come in from the cold and go underground by watching Theodore Flicker's neglected classic, “The President's Analyst” (1967). James Coburn stars as a psychoanalyst drafted to serve as the president's shrink, and who swiftly goes from starstruck to depleted to a fugitive on the run. This satiric romp hit a nerve with the FBI, was censored in post-production, and quickly disappeared from theaters. A loving sendup of psychoanalysis, an acid-addled dramatization of Cold War anxieties, and just a gonzo all-around-good time, the film gives us plenty to talk about, from the paranoic structure of knowledge to the Big Other of surveillance to unorthodox cures for “hostility” to J. Edgar Hoover's secret flirtations with self-analysis and more. Beverly Gage's biography of J. Edgar Hoover is G-MAN: J. Edgar Hoover and the Making of the American Century. You can listen to Barry McGuire's “Inner-Manipulations” (featured in the film) here: https://www.youtube.com/watch?v=WU7F_u9L5X8Have you noticed that Freud is back? Got questions about psychoanalysis? Or maybe you've traversed the fantasy and lived to tell the tale? Leave us a voicemail! 484 775-0107  A podcast about psychoanalysis, politics, pop culture, and the ways we suffer now. New episodes on Saturdays. Follow us on social media:  Linktree: https://linktr.ee/OrdinaryUnhappiness Twitter: @UnhappinessPod Instagram: @OrdinaryUnhappiness Patreon: patreon.com/OrdinaryUnhappiness Theme song: Formal Chicken - Gnossienne No. 1 https://open.spotify.com/album/2MIIYnbyLqriV3vrpUTxxO Provided by Fruits Music

About This Broadcast: BARRY MCGUIRE, His Music, His Faith, His Story. Perhaps best known for his 60's war protest song “Eve of Destruction” Barry's story goes far beyond that of the music industry. His recovery from addiction, his music and his faith in God are highlighted in this powerful interview. Join the Montyman and cohosts interventionist Matt Brown and Take 12 Recovery Radio Contributor Roger McDiarmid for this week's show.

durée : 00:07:23 - La chronique de Djubaka - Retour à l'aune des Seventies, en pleine Guerre Froide, avec ce titre de 1965. Dans cette chanson qu'on appelle dans l'industrie du disque un "One-Hit Wonder", on se replonge dans les consciences agitées par les menaces de l'époque, entre course à l'armement et l'affaire des missiles de Cuba.

picy and nutritious items in the rock and roll bouillabaisse this week include … … Roger Waters at the Palladium: a masterclass in how to insult an audience. … “without Andrew Loog Oldham, the Stones would have been Manfred Mann.” … the only rock star who can tell a story onstage. … Nempnett Thrubwell, Hinton Blewett, Glaister Fagan … Leafy Somerset hamlet or venerable reggae dubmeister? … the money Dave Grohl made from Nirvana (and it's less than you'd imagine). … why Barry McGuire's Eve Of Destruction was so terrifying. … please, someone, stage an exhibition of original paintings used on album sleeves! … the rise and rise of the rock spectacle. … Hogg, Fat Grapple, Makin' Bacon? Real or fictitious pork-related acts from the Melody Maker Club Calendar 1971. … has social media taken the place of protest music? Why has no-one made a statement the Israel/Hamas war? … more smoking-themed album covers. … what, in her darkest hour, Madonna must think about Taylor Swift's movie triumph. … and In The Court of the Crimson King and other albums that sound like their covers.Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeTickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content and more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

picy and nutritious items in the rock and roll bouillabaisse this week include … … Roger Waters at the Palladium: a masterclass in how to insult an audience. … “without Andrew Loog Oldham, the Stones would have been Manfred Mann.” … the only rock star who can tell a story onstage. … Nempnett Thrubwell, Hinton Blewett, Glaister Fagan … Leafy Somerset hamlet or venerable reggae dubmeister? … the money Dave Grohl made from Nirvana (and it's less than you'd imagine). … why Barry McGuire's Eve Of Destruction was so terrifying. … please, someone, stage an exhibition of original paintings used on album sleeves! … the rise and rise of the rock spectacle. … Hogg, Fat Grapple, Makin' Bacon? Real or fictitious pork-related acts from the Melody Maker Club Calendar 1971. … has social media taken the place of protest music? Why has no-one made a statement the Israel/Hamas war? … more smoking-themed album covers. … what, in her darkest hour, Madonna must think about Taylor Swift's movie triumph. … and In The Court of the Crimson King and other albums that sound like their covers.Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeTickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content and more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This Music Day Episode focuses on Protest Songs - songs with a social message. There was a time when artists regularly addressed the issues of the day. Songs like Bob Dylan's “A Hard Rain's a-Gonna Fall”, Neil Young's “Ohio” and Barry McGuire's “Eve Of Destruction”. The Vietnam War added many others. But protest songs have been on the wane, as artists apparently do not want to alienate any of their audience. But I believe that artists have an obligation to speak out, so this episode features three of my protest/message songs: “Tree Of Life” (guns and mass shootings), “Redemption Road” (divisive politics), and “I'm Falling Off Of The World” (world problems). Let's work together to solve these problems.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------‘THE SINGLES PROJECT” is Robert's upcoming EP. Five new songs that reflect the ups and downs of life. Release date October 20th. Click here for more details.“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Picture this - you're sat in a room with a man in his 80s radiating pure joy and passion for life. That man is Barry McGuire from McGuire Wax Company, and today we recap how to navigate our spiritual journey. We touch on the profound message of 2 Corinthians 4:18, encouraging a shift of focus from the fleeting material world to the unseen and eternal. Barry's insights are truly inspiring, and his zeal for life is infectious, reminding us that worldly pleasures are simply temporary satisfaction. For full show note details, go to the episode webpage:https://thelionwithin.us/podcast/265-fun-friday-share-the-gospel-with-your-story/Secure your spot in a Summit Leadership Development Preview Session!Ignite your leadership potential with The Lion Within Us Summit Leadership Development. Join our exclusive preview sessions to experience a transformative journey equipped with biblical principles that empower, inspire, and transform your leadership journey. Register now to become an empowered, purpose-driven leader. Get Free Daily Inspiration With Our Bible App DevotionalsOur devotionals dive deep into the pillars that define The Lion Within Us - health, wealth, and self. Whether you're seeking spiritual growth, financial wisdom, or personal development, these devotionals are tailor-made for you. Connect with The Lion Within Us on YouVersion Bible App. Join the Community TodayThe exclusive community for men who are seeking Truth and Accountability which creates courage to lead, fulfillment and direction. Start your 30-Day Risk-Free trial today!Join the Daily Spiritual Kick OffFor only $5 a month, join Chris and other members every weekday morning in our app! Dive into God's Word and leave with practical ways to simplify and apply it to your daily walk. Join the Daily Spiritual Kick Off today!

Stephen E. Strang is joined by author and car wax king, Barry Meguiar to discuss his passion for sharing Jesus with anyone and everyone! There is something spiritual happening deep within the culture of America today. Despite the blatantly demonic performance at the Grammys and pagan statues enshrined in New York City, there is an awakening taking place in the hearts of everyday Americans.  Many Christians never share their faith because they think it's hard work. Many are under the impression that unless you partake in elaborate schooling, you're not really qualified. Well, there's good news. Barry McGuire, the founder of McGuire's car wax has been an outspoken Christian for many years and he's demystifying the process of sharing your faith with others.   Available at https://mycharismashop.com/products/ignite-your-life-barry-meguiar

As we're in the period between Christmas and New Year, the gap between episodes is going to be longer than normal, and the podcast proper is going to be back on January the ninth. So nobody has to wait around for another fortnight for a new episode, I thought I'd upload some old Patreon bonus episodes to fill the gap. Every year around Christmas the bonus episodes I do tend to be on Christmas songs and so this week I'm uploading three of those. These are older episodes, so don't have the same production values as more recent episodes, and are also shorter than more recent bonuses, but I hope they're still worth listening to. Hello, and welcome to this week's second Patreon bonus episode. I'm recording this on December the twenty-third, so whether you hear this before Christmas is largely down to how quickly we can get the main episode edited and uploaded. Hopefully, this is going up on Christmas Eve and you're all feeling appropriately festive. Normally for the Patreon bonuses in the last week of December I choose a particularly Christmassy record from the time period we're covering in the main podcast -- usually a perennial Christmas hit like something off the Phil Spector Christmas album or the Elvis Christmas album. However, this year we're in the mid sixties, a period when none of the big hits of US or UK Christmas music were released, because it's after the peak of US Christmas music and before the peak of UK Christmas music. There were Christmas albums by people like James Brown, but they weren't major parts of the discography. So today, we're going to have a brief run-through of the Beatles' Christmas records. These were flexi-discs -- which for those of you who are too young to remember them were records pressed on very, very, thin, cheap plastic, which used to be attached to things like kids' comics or cereal boxes as promotional gimmicks -- sent out to members of the group's fan club. In a way, these were the Beatles' very own Patreon bonuses, sent out to fans and supporters, and not essential works, but hopefully interesting and fun. They very rarely had anything like a full song, being mostly made up of sketches and recorded messages, and other than a limited-edition vinyl reissue a few years back they've never been put on general release -- though one song from the discs, "Christmas Time is Here Again", *was* released as a B-side of the CD single of "Free as A Bird" in 1995: [Excerpt: The Beatles, "Christmas Time is Here Again"] Other than that, the Christmas records remain one of those parts of the Beatles catalogue which have never seen a proper widespread release. The first record was made on October the 17th 1963, at the same recording session as "I Want to Hold Your Hand", at the instigation of Tony Barrow, the group's publicist, who also came up with a script for the group to depart from: [Excerpt, the Beatles' first Christmas record] Barrow apparently edited the recording himself, using scissors and tape, and much of that was just taking out the swearing. Incidentally, I've seen some American sources talking about the word "Crimble" being a word that the Beatles made up themselves, but it's actually a fairly standard bit of Scouse slang. The second Christmas record was recorded at the end of the sessions for Beatles For Sale and was much the same kind of thing, though this time they incorporated sound effects: [Excerpt: The Beatles' Second Christmas Record] That was never sent to American fans. Instead, they got a cardboard copy of an edited version of the first record (it's possible to make records out of cardboard, but they can only be played a handful of times). They wouldn't get another Christmas record until 1968, though British fans kept receiving them. The third record sees the group parodying other people's hits, including a brief rendition of "It's the Same Old Song" interrupted by George Harrison saying they can't sing it because of copyright, and an attempt to sing Barry McGuire's "Eve of Destruction" and "Auld Lang Syne" at the same time: [Excerpt: The Beatles' Third Christmas Record] The fourth record, from 1966, was recorded during the early sessions for "Strawberry Fields Forever", and titled "Pantomime: Everywhere It's Christmas". For those outside the UK and its sphere of cultural influence, pantomime is a British Xmas stage tradition which is very hard to explain if you've not experienced it, involving performances that are ostensibly of fairy stories like Cinderella or Snow White, but also usually involving drag performances -- the male lead is usually played by a young woman, while there's usually an old woman character played by a man in drag -- with audience participation, songs, and old jokes of the "I do declare, the Prince's balls get bigger every year!" type. As the title suggests, then, the 1966 Christmas record is an attempt at an actual narrative of sorts, though a surreal, incoherent one. It comes across very much like the Goon show -- though like one of the later episodes where Milligan has lost all sense of narrative coherence: [Excerpt: The Beatles, "Pantomime: Everywhere It's Christmas"] it's probably the best of the group's Christmas efforts, and certainly the most fully realised to this point. The 1967 Christmas record, "Christmas Time is Here Again", is even more ambitious. It's another narrative, which sees the group playing a fictitious group called the Ravellers, auditioning for the BBC: [Excerpt: The Beatles, "Christmas Time is Here Again"] It also features parodies of broadcasting formats, which I've seen a few people suggest were inspired by the Bonzo Dog Band's then-recent Craig Torso Show radio performances, but which seem to me more indicative just of a general shared sense of humour: [Excerpt: The Beatles, "Christmas Time is Here Again"] But that record has become most famous for having one of the closest things on any of these records to a full song, the title track "Christmas Time is Here Again": [Excerpt: The Beatles, "Christmas Time is Here Again"] As well as later being issued as the B-side of a CD single, that was also remade by Ringo as a solo record: [Excerpt: Ringo Starr, "Christmas Time is Here Again"] Although my favourite use of the song is actually as an interpolation, with slightly altered lyrics, in "Xmas Again" by Stew of the Negro Problem, one of my favourite current songwriters: [Excerpt: Stew, "Xmas Again"] "Christmas Time is Here Again" would be the last Christmas record the group would make together. For their final two Christmas releases, they recorded their parts separately and got their friend, the DJ Kenny Everett, who was known at this point for his tricks with tape editing, and who shared their sense of humour (he later went on to become a successful TV comedian) to collage them together into something listenable. The highlight of the 1968 record comes from George's contribution. George, a lover of the ukulele, got Tiny Tim to record his version of "Nowhere Man" for the record: [Excerpt: Tiny Tim, "Nowhere Man"] And for the seventh and final Christmas single, recorded after the group had split up but before the split was announced, Everett once again cobbled it together from separate recordings, this time a chat between John and Yoko, Ringo improvising a song and plugging his new film, and Paul singing an original Christmas song: [Excerpt: Paul McCartney, "Merry, Merry, Year"] George's contribution was a single sentence. In 1970, the fan club members got one final record -- an actual vinyl album, compiling all the previous Christmas records in one place. All the Beatles would in future record solo Christmas singles, some of which became perennial classics, but there would never be another Beatles Christmas record [Excerpt, the end of the third Beatles Christmas record]

Welcome to another episode of Outrage + Optimism, where we examine issues at the forefront of the climate crisis, interview change-makers, and transform our anger into productive dialogue on building a sustainable future. In this episode, co-hosts Christiana Figueres, Tom Rivett-Carnac, and Paul Dickinson share their reflections on COP27. We also have music from South Africa's Daily Maverick, featuring the brilliant vocalist, Anneli Kamfer. Tom is back from Sharm El Sheikh, Egypt, where he spent several days at COP27, the UN's annual climate conference. The trio discusses whether the international commitment to contain global warming to 1.5°C一now that the target seems to be moving out of reach一is as robust as it should be. Is conference messaging, such as “[We are] resolved to pursue efforts,” as strong as it should be? Next, there's good and bad news on “Loss and Damage.” This refers to the responsibility of industrialized nations for the climate crisis and the moral case for compensating poorer countries suffering disproportionately from its consequences. Hear the breakdown and where the group stands on the progress of this critical issue. Other COP27 discussions cover balancing collective global action with internal political realities, strides in reversing deforestation, and Tom's birthday! You won't want to miss this engaging conversation!   Before we go to the music, hear our incredible ‘pass the mic' segment where Zoe, our roving reporter, spent an afternoon capturing diverse voices from COP 27 delegates in the halls and corridors of the conference. Finally, we finish with our musical selection: “20Twenties: Eve of Destruction,” by the Daily Maverick, featuring the celebrated vocalist Anneli Kamfer.   Enjoy the show!   NOTES AND RESOURCES  To learn more about our planet's climate emergency and how you can transform outrage into optimistic action subscribe to the podcast here. Explore more about COP27. It's official, we're a TED Audio Collective Podcast - Proof! Check out more podcasts from The TED Audio Collective.   MUSIC Listen to the full track “20Twenties: Eve of Destruction” from the Daily Maverick featuring acclaimed vocalist, Anneli Kamfer. Anneli Kamfer Facebook | Instagram Learn more about the Daily Maverick and the Our Burning Planet initiative.  Here's a well-known version of Eve of Destruction, written by 19-year-old PF Sloan in 1965 and recorded soon after by Barry McGuire.   Follow us on Social Media: Twitter | Instagram | LinkedIn | Facebook

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. 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 There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

In a Monday Morning Grabbag episode of The Charlie Kirk Show, two different conversations—one with Barry McGuire of Ignite America Ministries, an old, dear friend of Charlie's, in which they talk about the importance of professing  your faith as a Christian. Next, the one and only Eric Metaxas joins Charlie for a conversation on biblical history, atheism, and even a preview of the fraud set to be exposed in Dinesh D'Souza's upcoming film.  Support the show: http://www.charliekirk.com/support See omnystudio.com/listener for privacy information.