Podcast appearances and mentions of bear family

King Carl and the Bear Family by Hailey by 826 Valencia

This week, the Bear Family gets into a bit of trouble in a completely believable and scientifically accurate way! It’s “The Berenstain Bears Blast Off!” and it’s steeped in believability! I swear!

1. (Intro) Ian A Anderson : Goblets & Elms from the CD Onwards (Ghosts From The Basement)2. Boss Morris : Filberts from the CD Boss Morris (Boss Morris)3. Dr. Strangely Strange : Baby Bunting from the CD Anti-Inflammatory (Think Like A Key)4. FaithNYC : Eagle Street from the DL album Love Is A Wish Away (Faith NYC)5. Sam Amidon : I'm On My Journey Home from the CD Salt River (River Lea)6. Karolina Wegrzyn : Tomu Kosa Dobre Kosyt from the DL album Oy Vesna Krasna (Karolina Wegrzyn)7. Gangspil : Læspolkaer from the DL album Live At Alice, Copenhagen (GO Danish Folk Music)8. Lisa Knapp & Gerry Diver : Hawk & Crow from the CD Hinterland (Ear To The Ground)9. Liz Overs : Yellow Horned Poppy from the CD Nightjar (Liz Overs)10. The Zawose Queens : Lulelule from the CD Maisha (Real World)11. Dal:um : Cracking from the CD Coexistence (tak:til)12. Laura Jane Wilkie : Lift Up My Love from the CD Vent (Hudson)13. Rachel Newton : Saint Bride from the CD Sealladh (Hudson)14. Ben Nicholls feat. Sam Sweeney : Northern Frisk from the CD Duets (Hudson)15. Jon Boden & The Remnant Kings : The Oggie Man from the CD Parlour Ballads (Hudson)16. The Memory Band : Primroses from the DL/ K7 A Common Treasury (Gorodisch)17. The Baltic Sisters : Nuslaida Saulala from the CD Värav / Värti / Vartai (CPL Music)18. Landless : The Wounded Hussar from the CD Lœireach (Glitterbeat)19. Samba Toure : Wotoro Pousselaw from the CD Baarakelaw (Glitterbeat)20. Piers Faccini & Ballake Sissoko : Borne On The Wind from the CD Our Calling (Nø Førmat!)21. Santrofi : San Su from the CD Making Moves (Outhere)22. Pete Hampton & Laura Bowman : Mister Your Room Rent's Due from the CD Over There! (Bear Family)23. Tanburi Cemil Bey : Nihavent Sirto from the CD Tanburi Cemil Bey (Traditional Crossroads)24. Jackie Oates & John Spiers : The Broomsquire's Bird Song from the CD A Midwinter's Night (Needle Pin)25. Windborne : Malpas Wassail from the CD To Warm The Winter Hearth (Wand'ring Feet)26. Hladowski/ Hampton/ Strachan : They All Were Looking For A King from the DL single (Mary Hampton)27. Amparo Sánchez : Pa´ Llegar A Tu Lado from the CD Ritual Sonoro (Mamita)28. Carmen Souza : Badju Mandadu from the CD Port'Inglês (Galileo)29. Tucker Zimmerman : Taoist Tale from the CD I Wonder If I'll Ever Come True (Big Potato)30. Tucker Zimmerman Feat. Big Thief : They Don't Say (But It's True) from the CD Dance Of Love (4AD)31. Flook : The Farther Shore / Winter Flower from the DL single (Flook)You can find more details including past playlists and links to labels at www.podwireless.comPodwireless can also be heard streamed live on Mixcloud.Follow the links for previous podcasts.

When the Bear Family finds themselves overbooked and running late, they turn to one of the Biblical Prophets(?) to solve(??) the lateness problem(???). It’s “The Berenstain Bears Bears On Time Solving The Lateness Problem!”

The Berenstain Bears have a LOOONG history with Halloween. Those bears LOOOVE to Trick and they love to treat and they love to combine the two and trick and treat. But, sometimes, it’s all about the party. This week, the Bear Family throws caution to the wind and hosts a BIG HALLOWEEN PARTY in “The … Continue reading "Episode 455 – The Berenstain Bears’ BIG HALLOWEEN PARTY!"

The Bear Family label, headquartered in Germany, has long featured deep track dives into American music of the past century. Whether that be rock, country, rhythm and blues, or Americana; much of it is as far off the beaten track as you can imagine. Their selections and the high quality of the liner notes and ephemera have long been the top shelf standard for collectors and aficionados of American music. This week on Deeper Roots we'll be diving into their delightful ‘theme' universe prefaced with the perfect title of “Destination”. We'll be digging into the themes of ‘freeway', ‘outer space', ‘beach parties', ‘ocean cruise', ‘lust' and ‘sex'. The music you'll be hearing is an unusual ‘bucket of nuggets' representing some of the very best of camp pop and rock. Tune in for a raucous blend of ‘never heard'.

Hey, it’s a trip to the Big Apple! The City That Never Sleeps! The Town That Never Frowns! The Metropolis That Never Nets Mop O’Lips? Whatever. What happens when the Bear Family goes to Bear Country’s version of New York?! Not much! They do go to the theater, though. So… that’s something. How *does* French … Continue reading "Episode 446 – The Berenstain Bears Visit Big Bear City"

The Bear Family is all set to honor their fathers and HONER THEIR FATHER by sending Gramps and Papa out on a boat for the day. But, what’s this?! SINGING? Who’d a thought?! Also, the origins of Father’s Day. Also, the INCREDIBLY SAD STORY of the guy who wrote the hymn about the music of … Continue reading "Episode 441 – The Berenstain Bears Father’s Day Blessings"

Holmberg's Morning Sickness - Wednesday May 1, 2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

Holmberg's Morning Sickness - Wednesday May 1, 2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello Friends! As promised, it's finally time to blaze it up, with the 1967 LP from the much derided Herman's Hermits, Blaze. Issued in October of that year, the album was not issued at the time in the UK (though formed popular on the import market), the album comprised of 10 tracks produced by the ardent lover of mono, one Mickie Most. This overall leads to a generally simple stereo presentation, including two reprocessed stereo tracks (though not necessarily of the same mono mixes), but this does not mean these don't feature some significant differences. Things get more interesting when we bring in Ron Furmanek remixes from 1991 of the first 7 tracks for the album. If one hasn't heard a Ron Furmanek remix before, it's important to understand his sound for the period. These are very clean and open mixes, and compared to the often heavy compression and EQ used on ‘60s mixdowns, Ron prefers to keep it dynamic and dry, heavily aided by his very ahead-of-the-curve syncing of stage tapes, albeit with some minor sync issues sadly. I personally find them more fascinating insights than actual preferred listening experiences, and the tracks as presented on the Bear Family set also appear to have a bloated sounding EQ, especially apparent when moving from the ‘60s mixes, so do keep all these pointers in mind as we compare. As a little bonus, I'm going to be including the song ‘Mum & Dad', which was recently brought to my attention by Andrew Sandoval as excised from the LP late in the production, present in the tracklist (but not audio) for the US reel-to-reel release, as the second to last track on the LP. Of course, this eventually saw release on The Best of Herman's Hermits Volume III in the US only, which gave us true mono and stereo mixes of the track, and we were treated to a remix from Ron again for this one. All in all, this makes for an episode that was far more fun to make than I was expecting, and it was very much one initially done out of the love for the album over anything else. And hopefully you learn a lot too!  Happy Listening, Frederick   Patreon   Email   Instagram  

Beary Chritstmas to you all. This week Matt and his family talk about their Christmas traditions, from celebrating Christmas on the 24th, their favourite movies, and much more. Come join the Bear Family on their Christmas adventure.

My guest this week is Ted Olson.Ted is Professor of Appalachian Studies at East Tennessee State University.  He's also written liner notes and essays for some wonderful projects, including “Doc Watson – Life's Work: A Retrospective,” and the fantastic  “Nothing But Green Willow: The Songs Of Jane Gentry and Mary Sands” by Martin Simpson & Thomm Jutz.Ted joins me to talk about three wonderful projects he worked on for Bear Family Records, celebrating three key recording sessions that took place in East Tennessee in the 1920s and '30s - The Bristol Sessions, The Johnson City Sessions and The Knoxville Sessions.Bear Family put out a multi-CD box set for each of these, which Ted did extensive research and  provided some wonderful essays and liner notes for. Each set is also distilled into a single CD release.We talk about why The 1927 Bristol Sessions, which brought The Carter Family and Jimmie Rogers to the attention of the world, came to be known as the 'big bang' of Country music, why that label doesn't sit quite right with Ted, how the sessions came about, what was happening in the world of commercial recording at the time and why the legacy of those recordings is so important, plus much, much more.It was a fascinating conversation and put those recordings in a whole new context for me, both helping me understand their importance, but also (thanks in part to the wonderful transfers and re-mastering, as well as the incredible liner notes) helping me realise there's just some great music in there too!You'll find the single CDs here:Bear Family CDsBristol SessionsJohnson City SessionsKnoxville Sessionsand the box sets here:Bear Family box setsBristol SessionsJohnson City SessionsKnoxville SessionsHappy picking!Matt Support the show===- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

This week, our Bear Family creates a major imposition on their local fire constabulary. also, the history of firefighting! Also, Restaurant. Apartments? Maybe!

This week, let’s go down, down, down, with the Bear Family as they’re dragged to the bottom of the ocean to sleep with the fishes! It’s “The Berenstain Bears Under The Sea” and… there’s a lot of fish, I guess?

Episode 236: I will discuss The Golden Bear Family Restaurants, and The I. Magnin Department Stores in Chicago. Clips from the show are credited by The Museum of Classic Chicago Television (www.FuzzyMemories.TV) by Rick Klein. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pete-kastanes/message

Episode 236: I will discuss The Golden Bear Family Restaurants, and The I. Magnin Department Stores in Chicago. Clips from the show are credited by The Museum of Classic Chicago Television (www.FuzzyMemories.TV) by Rick Klein. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pete-kastanes/message

It’s a Berenstain Bears book where the Bear Family goes on a walk and looks at animals. I mean… that’s pretty much it? “The Berenstain Bears All God’s Creatures!”

Gordon Buchanan is a Scottish wildlife filmmaker and television presenter, who has been responsible for some of the most iconic moments in numerous wildlife documentaries, such as filming big cats for Big Cat Diary, grey seals and foxes for Springwatch and his “...and me” documentary series, including The Bear Family & Me, The Polar Bear Family & Me, Snow Wolves, Gorillas, Elephants, Tribes, Reindeers, Grizzly Bear Cubs, Snow Cats and The Cheetah Family and Me. Gordon has been a guest presenter on Springwatch, filming live from Scotland and after a sell out tour in 2022, Gordon is going back on tour in 2023, taking a look back at his incredible 30 years working both behind and in front of the camera.Gordon Buchanan is guest number 264 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Follow Gordon Buchanan on Twitter: @gordonjbuchanan & Instagram @gordonbuchanan_wildlife .Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Dyer's Daily, Jamie Dyer dips into the Record Revival Archive, a review of a Bear Family vinyl reissue of Shelley Fabares' debut album Shelley! Part of the 11000 series. Recorded in 2021.

In this episode of Dyer's Daily, Jamie Dyer dips into the Record Revival Archive and pulls out a review of Link Wray Rocks on Bear Family Records. Originally recorded in 2020.

In this episode of Dyer's Daily, Jamie Dyer dips into the Record Revival Archive and reveals a review of Bear Family Records' reissue of Big Joe Turner's Boss Of The Blues album. Originally recorded in 2020.

David Bear, Owner / Operator of the McDonald’s on Larkin Avenue in Elgin, joins John Williams to talk about the history of his family’s franchise, how his father designed the first dual lane drive-thru in the world, how much of their business is done using the drive-thru, how technology is changing the customer experience, and […]

David Bear, Owner / Operator of the McDonald’s on Larkin Avenue in Elgin, joins John Williams to talk about the history of his family’s franchise, how his father designed the first dual lane drive-thru in the world, how much of their business is done using the drive-thru, how technology is changing the customer experience, and […]

David Bear, Owner / Operator of the McDonald’s on Larkin Avenue in Elgin, joins John Williams to talk about the history of his family’s franchise, how his father designed the first dual lane drive-thru in the world, how much of their business is done using the drive-thru, how technology is changing the customer experience, and […]

In this episode of Dyer's Daily, Jamie Dyer dips into the Record Revival Archive and pulls out a review of The Best Of Little Richard, a vinyl release from Bear Family Records.

SUMMARY:  How to include family members in ocd treatment Supporting siblings during ocd treatment  How to apply the “be seen” model Ocd family therapy: including siblings as “assistant coaches”  Developing empathy during ocd treatment Links To Things I Talk About: ERP School https://peaceofmind.com/for-siblings/ OCD Stories (with Jessica Serber) https://theocdstories.com/episode/dr-michelle-witkin-siblings-and-ocd/ https://www.amazon.com/When-Family-Member-Has-Obsessive-Compulsive/dp/1626252467 When a Family Member has OCD https://www.anxioustoddlers.com/psp-050-explaining-ocd/#.Y2Lc2S1h2Tc Krista's webpage Instagram: @anxiouslybalanced Episode Sponsor:This episode of Your Anxiety Toolkit is brought to you by CBTschool.com.  CBTschool.com is a psychoeducation platform that provides courses and other online resources for people with anxiety, OCD, and Body-Focused Repetitive Behaviors.  Go to cbtschool.com to learn more. Spread the love! Everyone needs tools for anxiety...If you like Your Anxiety Toolkit Podcast, visit YOUR ANXIETY TOOLKIT PODCAST to subscribe free and you'll never miss an episode. And if you really like Your Anxiety Toolkit, I'd appreciate you telling a friend (maybe even two). EPISODE TRANSCRIPTION Kimberley Quinlan: Well, welcome Krista Reid. I am so excited to number one connect with you, but to talk about a topic that I don't talk a lot about which is something that I'm excited to really talk about with you today. A Peaceful Balance Wichita: Yes, thank you so much for having me. Kimberley Quinlan: So welcome. A Peaceful Balance Wichita: I'm excited. Kimberley Quinlan:  Yeah. Look at you. You're all the people who don't see, you're like everything's bright and it's so happy. It makes me so joyful just to see you. A Peaceful Balance Wichita: Thank you, anybody. That has met me. Will get it. I'm a very colorful person. Thank you. Kimberley Quinlan: I love that that we need more of you in the world. Kimberley Quinlan: I really feel Yeah, good thing. I made children that sort of created more of me, right? That's the best I can do. A Peaceful Balance Wichita: I we need more of you. A Peaceful Balance Wichita:  You go. There you go. Kimberley Quinlan: All right, let's talk about supportive siblings. Let's talk about… A Peaceful Balance Wichita:  Yeah. SIBLINGS AND OCD Kimberley Quinlan: how the family can play a role in recovery. I kind of want you to take the lead here and tell me everything, you know. So tell me a little bit about why this subject is important to you and how you used it in clinical and in the field of OCD. A Peaceful Balance Wichita: Yeah, absolutely. And so I'll give you just a little bit of background. I always have been interested in sibling dynamics, and in fact, when I was in grad school completing my thesis, I even consulted the director of the program. I said, Are there any theories about siblings? And he's like, well, you know, there's the one by Alf or Alfred Adler on birth order. But really outside of that, no and that has just always been so entirely profound. Because when we think about family work, if you're looking at family theories, if you're looking at different types of family interventions and models, a lot of them really focus on parent child. And when you're dealing specifically with a child who has an, I'll go into the physical medical side as well, because I don't think this is exclusively just OCD or just mental illness. Kimberley Quinlan: Mmm. A Peaceful Balance Wichita: when we're seeing that a lot of times, the model is fixated on the child with the medical issue and the parent And what I was finding was that siblings. They kind of get othered In this. It's full process and the definition of other. It is essentially, you know, being excluded from meetings being excluded from family sessions being excluded in some way, shape or form. Now I could see how potential listeners will say, Well, isn't it that child with the OCD the child with the medical issues othered Yes, I'm not debating that at all, I'm saying, primarily within the family unit, that the sibling themselves can get very other and siblings struggle when their sibling has a disorder. You… Kimberley Quinlan: Mmm. A Peaceful Balance Wichita: they can struggle emotionally, they can struggle behaviorally. You know, just looking at the construct of OCD, they could struggle with the with the grief. Of their sibling having OCD, the moods that may come with the disorder. And oftentimes, this can lead to resentment within the sibling relationship, or even guilt or shame. And I I have siblings, and I think this potentially might be even where a lot of my work is very important because I am very close to my siblings. I am super close. Like I I feel like I'm very fortunate. I have, I have amazing relationships with my siblings and so it absolutely breaks my heart when you see a child. A Peaceful Balance Wichita:  Who who has this? Some type of distance within their sibling relationship either because they themselves have the disorder or their sibling has the disorder. And so, I started finding different ways to incorporate siblings and to the therapeutic model. I'm really big into family work. I don't understand how special when you're working pediatrics pediatrics. And that's primarily what I'm going to focus on today is a pediatric work. I don't understand how when you're working with pediatrics? How you you can't have the family involved? To me, that doesn't make any sense because we're seeing, especially in the outpatient world, we're seeing these kids an hour a week, so tops four hours a month. Pretty sure there with their families, a lot more than just four hours a month. and then thinking about, A Peaceful Balance Wichita:  The siblings. What can we do to make them feel like they're not being other? How can they also not be parentified? Because that's sometimes happens within the disorder. World is the siblings may feel that they have to have some type of responsibility for their siblings medical issues. And that is Absolutely. I don't want any sibling to have that. I want them to have a childhood. I want them to be kids, but how can we incorporate them without parentifying them and without othering them and also bringing in the family as a whole and tackling this beast together whether that's OCD or whatever? That beast might be. 00:05:00 Kimberley Quinlan: That's so interesting because as someone who treats OCD but also treats eating disorders, I have found that, you know, you'll treat the one child who has the primary disorder. We get them better. And then a year or two later, the other kid that didn't have the the diagnosis starts to suffer and all this emotion comes out and they start to really acknowledge how painful it was for them and and it all comes out later. A Peaceful Balance Wichita: Okay. Kimberley Quinlan: But I know that there are other cases where it comes out during and you've got multiple things happening at once. So, that is why I think this is so important is Kimberley Quinlan: In my early days of treating you would be like, no, that the siblings. Fine. Look at how well they're doing. They're they're doing well in school and it's quite a miracle,… A Peaceful Balance Wichita:  Yeah. INCLUDING THE WHOLE FAMILY IN OCD TREATMENT Kimberley Quinlan: isn't it? But then Yeah, it all comes out, right? It all comes out. So I love that you're talking about this, right? So you you And number number one, before we move on. Is this true of not just siblings, Would we say? This is true of partners of OCD or eating disorders or depression as well. Like Does this spread to that or… A Peaceful Balance Wichita: Yeah. I I agree a hundred percent,… Kimberley Quinlan: What are your thoughts? A Peaceful Balance Wichita: you know, this, I hate to call it curriculum because that makes it sound so sterile. A Peaceful Balance Wichita: Process I guess I'll call it and I feel that this process is and as as you know aforementioned it's not just about OCD. I can see this being across the board for any medical issue. Absolutely. It could be for Let's a roommate. Let's not even like let's let's take out the family part. Kimberley Quinlan: um, And here. A Peaceful Balance Wichita: You know what, working with a college. I college student, who has a roommate that, maybe they're pretty close with. Absolutely. I if they're willing to bring that person in, How can we incorporate them? Because doesn't that client win? That's what we're wanting… Kimberley Quinlan:  Yeah. A Peaceful Balance Wichita: because we know that no matter what your medical diagnosis might be relationships, struggle, and… Kimberley Quinlan:  Mm-hmm. A Peaceful Balance Wichita: that absolute last thing I would wish upon anybody. Kimberley Quinlan: yeah, I'm even thinking of me as someone with a chronic illness On how I think it even like you said it stretches to medical to like that. You know, I know I look back until tell a quick story. I look back to when I was really sick and really sick. And I even remember seeing my children, Starting to play a parental role on me. Like, What do you need today? Mom, instead of like, No, I'm supposed to be asking you that Hun. Like, I think that it's,… A Peaceful Balance Wichita: Yeah. Kimberley Quinlan: it can spread. So I I think that this is that's again why? I think this is so important. So I'm gonna skip to my main sort of questions here. Now, it's like you talk about what is called a coach Like an OCD coach. I know I've watched one of your presentations like Do you want to share with us What this model may look like? BE SEEN MODEL A Peaceful Balance Wichita: Yeah. Absolutely. So before I even talk about the OCD coach, because that's not like, I'm not reinventing the wheel, this isn't something that I think a lot of your listeners are going to say, Oh like that's that's a new thing. No, it's not a new thing especially when working pediatrics. That's a pretty common term because that's what we really want these parents, or caretakers to be of these kids. As we want them, to be able to learn how to do what we are doing with their kids. So they don't have to be in therapy forever. So, I developed this process and I call it BE SEEN  seen as an acronym, because why not us medical professionals. We love our acronyms. So let's make another acronym. And also it's really easy to just to remember Kimberley Quinlan:  Right. A Peaceful Balance Wichita:  And I chose this specific, acronym one. It fits the letters, really nicely of what I was hoping to explain throughout this process but also for a couple different reasons. One I have OCD and I struggled as a child and adolescent and one of the primary factors in my own recovery, that was so A profound was I realized I did not want to be seen. I did not want people to note because I felt I felt bad, You know that shame just smothers you like a blanket and it just it it was embarrassing. And then I was thinking about it from the other side of siblings. 00:10:00 A Peaceful Balance Wichita: When you have a child who has a chronic illness, you think about how often, are they going into doctors appointments? How often are they going into whatever type of treatment facility? They may they may be utilizing. The sibling is often and they can get hidden. They can get hidden. And if I in fact, I think it was Chris Baer who did unstuck who actually called the sibling, the forgotten child. and I,… Kimberley Quinlan: Such a crisp, man. A Peaceful Balance Wichita: I absolutely, I'm gonna, I'm gonna get to how that whole thing. Actually, kind of birthed this idea here in a bit. A Peaceful Balance Wichita: But thinking about just how profound it could be for the sibling to be seen. And as I mentioned before,… Kimberley Quinlan:  Hmm. SUPPORTING SIBLINGS DURING OCD TREATMENT  A Peaceful Balance Wichita: I don't want them to be responsible for their siblings treatment. That is so incredibly inappropriate. And I want them to have a childhood, but I also want them to participate and have a relationship with their sibling. So when I think of an OCD coach essentially, how I define an OCD coach, is going to be that's going to be the adult figure. So that is going to be the person that is going to take the the child to therapy to treatments. That's going to be the main one, utilizing, exposure and response prevention therapy. They're going to be kind of the one overhead and I like using the word coach. A Peaceful Balance Wichita:  Because one, I really like sports and I just think that there's something kind of neat about a coach because a coach is going to be, they're gonna be tough. They're gonna be fair. And at the end of the day, all they want is for you to win. I just think that's such a cool concept and when you tell that to a parent, a parent, a lot of times can say, Okay, so I get that because I could say, I want you to be the parent to the kid but also think about a coach because when you have your child on a team, OCD FAMILY THERAPY: INCLUDING SIBLINGS AS “ASSISTANT COACHES”  A Peaceful Balance Wichita:  In OCD Family Therapy, that coach is going to be tough. And I'm not trying to take the emotions out at all because we know coaches can be incredibly empathetic. The coaches are probably going to push your child a little bit more than you would put child. And so putting yourself into that role and thinking about this is for a win, I know my child might be hurting, I know my child because they're doing the exposures because you're not allowing them to have the OCD accommodated, you're pushing them to grow. So, Putting yourself into the coaches role versus only solely. The parents' role can be such a powerful metaphor for parents and I just really, really love that. So when I'm looking at the siblings, I call those the assistant coaches, those are the ones that can assist and help out. The players. A Peaceful Balance Wichita:  So the child that is in OCD  therapy or in treatment or whatever necessarily it might be and so be seen. So each letter of scene represents something s is supportive. How can you support the child? And I've actually created Worksheets, that are age appropriate for the sibling and the child with OCD, which again, it really could be any kind of medical thing because the acronym really doesn't exclusively cover OCD. They can do this together and so s is supportive finding different ways to support and A Peaceful Balance Wichita:  With the worksheets that I've developed with ages five to 10. I just love this. It's it's an art activity and the kids together get to draw them slaying. I mean I'm using quotation marks slaying the OCD monster or making a can of like OCD away spray and so it's just a really, really cute. A activity to do and again because it's ages five to ten, that's such a level of mastery and explorative and, you know, they, they like to draw in color and play at that time. So, even if their sibling with OCD, it's a lot older. Think about what an amazing bonding experience that could be, you have a five year old sibling, and a 12 year old with OCD, that's a pretty cool, a situation able to put those two together to talk about it. A Peaceful Balance Wichita: Because then that five year old. I mean, how empowering and beautiful that is is like, okay, so you know, sibling older sibling, I'm going to draw a can of a way spray, and this is what it's going to do, and it's gonna get it's gonna help get rid of this and this. And we know that children think so highly a metaphors. That, that could be such a really cool way for them to interpret that. And to be able to understand that because we also don't want little kids to well, it's not, we don't want to, it's they just simply don't have the cognitive abilities to understand OCD comprehensively So let's find age appropriate manners to be able to do that. 00:15:00 Kimberley Quinlan: Yeah. DEVELOPING EMPATHY DURING OCD TREATMENT A Peaceful Balance Wichita: And then the next one is developing empathy during OCD treatment. I'm not gonna lie doing an empathy exercise with kids can be a little bit challenging and I think I think that because the Emotions are so complex. In situations are so complex. And so I was trying to find a way to be able to put this in a manner that A five-year-old is going to comprehend and yet also like a 15 year old is not going to think is to babyish. Kimberley Quinlan:  Yeah. A Peaceful Balance Wichita: Per se. So it's a it's another worksheet because they're all worksheets it's another worksheet where the siblings can work alongside each other and it really can go either way. It usually works better if the child with OCD goes first. And so the child with OCD can share a so, for instance, I feel disgusted. When I'm around a bad food, I'm just gonna say something super blanketed and then the child the sibling with who does not have OCD could say, Okay? So let's talk about disgust. When do you feel disgusted? And they might say I feel disgusted when my parents make me eat broccoli. And so that's just a really cool and simple way for them to see that this is, you know, we can we can relate on emotions. A Peaceful Balance Wichita: And we don't have to agree on your, on your emotional reaction, but we can all we can realize that we all have these emotions and this is how we can bond. And for a young young child,… Kimberley Quinlan:  Hmm. A Peaceful Balance Wichita: This could also be a really cool lesson in emotional intelligence, because they may not necessarily understand or comprehend. All these different kinds of emotions I'm not gonna lie. I think this might be my favorite one because I think this really encompasses a lot of different things. I love empathy exercises, I'm sure you like being big. Kimberley Quinlan: Well, I think it builds on that common humanity, doesn't it? A Peaceful Balance Wichita: But it really does. And that's the whole point is, you know, going back to what I mentioned about being seen, we're all humans and we're flawed and we don't want anybody to feel like they have to be perfect in this process and we don't want anybody to feel like they have to be all knowing, because there's such a beautiful way to which is actually Um, I was gonna go back to support. I've already talked about supportive, but it's a really cool way to support each other. and also not feel like you have to be an expert or Creating them per say,… Kimberley Quinlan:  Yeah. Yeah. Yeah. A Peaceful Balance Wichita: all right. So then the next one. The next E is encourage this one and the worksheets is make a sign. So like if you were at because again, these are assistant coaches and I'm kind of using the metaphor of sports or games or like, if you're running along a marathon, what sign would you hold for your sibling? And so, then they get to make a sign for older kids. It could be a Post-it notes, have Post-it notes, and then put it like in your siblings lunch or on the bathroom mirror, draw a picture of them, make a card for them, You know, finding different ways to encourage your sibling with out feeding and to the OCD. That could be a really big part of it. Because let's say, for instance, you have a sibling. A Peaceful Balance Wichita: Who their OCD attaches on to the color? Black black is death. Black is some. Well, you know what, we're just not going to draw with the color black because it's not the siblings responsibility to do the exposures. Unless that is something that has been discussed actually in the therapy session, because, again, I can't say it enough that I do not want the sibling, to ever be in charge of treatment, or exposures or anything along the lines of that, of course, without actually working with a therapist beforehand. Kimberley Quinlan: Right, right? Can I ask you a question really quite just to clarify Tim? A Peaceful Balance Wichita: And yeah. Absolutely. Kimberley Quinlan: So that parent is the coach. Right? And… A Peaceful Balance Wichita:  Yes. Yes. Kimberley Quinlan: then the child is the assistant coach, you mentioned. Do they get assigned that or… A Peaceful Balance Wichita:  Correct. Kimberley Quinlan: Do we just call them that? Do they know they're the coach? Do we use those words? Do we assign them? That? What are your thoughts? A Peaceful Balance Wichita: I think that could really be up to a parent. Those are just terms that I've used you. 00:20:00 Kimberley Quinlan: They're like,… Kimberley Quinlan: conceptualizations. Okay. A Peaceful Balance Wichita: Exactly it… A Peaceful Balance Wichita: because children work, so highly with metaphors and they can use whatever, I had a child. Once say, a lot of want to be a coach, I want to be a cheerleader. Cool. Then you could cheerlead we really kind of whatever it's like… Kimberley Quinlan:  Okay. Kimberley Quinlan:  Right. A Peaceful Balance Wichita: if they want to be the waterboy, I mean I don't care as long as they whatever they can conceptualize it as and we can still kind of follow this supportive method fine. Kimberley Quinlan: Yeah. Okay, thank… Kimberley Quinlan: I just want to clarify that. So okay,… A Peaceful Balance Wichita: Yep. Right. Kimberley Quinlan: we're up to we're up to N. A Peaceful Balance Wichita: That's just great. I say in is non-judgment. And this is the part that we really, really, really like to push that OCD is not your siblings fault. Absolutely did not ask to have OCD. They're not doing this on purpose to despise you or for whatever reason. And also realizing that as the sibling, the way the sibling with OCD behaves is not the siblings fault. This can be a part where you have some psycho education and learning more about what OCD is and what OCD is not. And finding different ways to be able to talk about that. Because that itself can be very difficult and… Kimberley Quinlan: Mmm. Right. A Peaceful Balance Wichita: I have, I do a lot of OCD psychoeducation when I work with families. And this is where I was going to bring unstuck back. I think that even before going through this process with families unstuck in my opinion I I'm sure other professionals you know, have their own ways of doing it but I find it to be one of the most profound psycho education methods to use for families. Because, and I'm, I do you work with kids as well. Okay, I'm sure you can, you can relate that when you're having that Psychoed session with a kid, it gets lost. They're done. They're bored. They're just like, well can I just do something else? When you have a which I love that, it's like 20 minutes, it was so made for kids the unstuck documentaries. It was beautiful. And kids talking about OCD to kids. A Peaceful Balance Wichita: I mean I I don't know how it it is more impactful than that. Because a long treatment, it's funny enough, my clients will actually refer to the kids in the movie. Like oh, okay. Well, that one boy. Um, he was able to wear Hulk mask or that one, that one girl was able to hug a tree. Oh, that one. She ripped out pages of the Bible and they'll actually refer to that and they see that as being incredibly empowering. what that also does is it lets the parents know that here are some kids… Kimberley Quinlan: You. A Peaceful Balance Wichita: who I mean, you hear their stories, you know that those were pretty severe cases These are kids who came out the other side and are in recovery. and they're talking about these challenges, they're talking about How difficult it was for them. And so when parents are learning about ERP for the first time, it's it's very scary, it's very and so I think it's not only powerful for the children with OCD and their siblings but also their parents to be able to see this documentary, I can't speak highly enough about it, but that's not why we're here. Kim, we're not here to talk about this documentary. Kimberley Quinlan: No, but I think I mean that's the beauty of the community, right? Is we all bring little pieces to what's so important. As you're talking, I'm thinking like A Peaceful Balance Wichita: That. Kimberley Quinlan: He sees that movie because that's the impact it's having. I mean I've seen it and I loved it it's so it's when we can't miss the siblings, right? Like that's some important piece. So I love that you're talking about that and I do think you're right. Question totally off topic. A Peaceful Balance Wichita:  Yeah. Kimberley Quinlan: But on topic is, when you're with a client, do you? Encourage them to watch on stock. Do you bring the family in and do this training with them? What kind how do you apply these concepts in session or Are you know, for someone who doesn't have therapy, what might they do? A Peaceful Balance Wichita: Oh, okay, I'm gonna answer that. Someone who doesn't have therapy. Might what they do. I'll go. The therapeutic route to begin with, of course, after you solidify the diagnosis? Which again, for kids can be boy, that can be a challenge that can be such a challenge. So, this is after diagnosis, This is just part of the therapy. I do I, I will say, Okay, so bring in the family and I would say, I would love to have siblings here and they'll say, Well, the sibling is five or six, is that? Okay, absolutely, because you will be surprised at how aware the young sibling is going to be their older sibling. 00:25:00 A Peaceful Balance Wichita: And all time, you will also be surprised at how much accommodation the young child might be doing because they might see that as being. Well, that's just my older sibling. My only can't cut food. Kimberley Quinlan: Yeah, right. A Peaceful Balance Wichita: My older sibling doesn't walk down this one hallway. That's just how they are. Well, we also want to teach them that, you know, this is this, This has a name and here's some ways that you can be encouraging for your sibling. And so I have an entire session where I invite the entire family in and we watch the movie and then we process it together. and from there,… Kimberley Quinlan:  Right. A Peaceful Balance Wichita: We go on to. A Peaceful Balance Wichita: Week, We go on to just write right away going on into the bc model and figuring out different ways how the sibling can be involved. Not other not excluded and then we'll go into more of kind of like, the clinical stuff, the Y box, exposure, higher and… Kimberley Quinlan:  Yeah. A Peaceful Balance Wichita: and so forth. But you ask, how can people that don't have therapy being able to utilize this. Honestly, it's on silly. I I'm probably the. Okay, there's two ways. I'm very competitive but I'm not competitive. When it comes to This this work, I post these worksheets for free on my website because this is something that I'm not here to make a profit off of it. I'm not here to, I'm not even gonna copyright it because at the end of the day, if we can help one sibling feel heard, Cool. That's it. That's that's amazing. No, no amount of money or… Kimberley Quinlan:  Right. And A Peaceful Balance Wichita: anything could ever be better than that? Kimberley Quinlan: We can link the links to these worksheets in the show notes. You're comfortable with that. That would be amazing. Yeah. Okay,… A Peaceful Balance Wichita:  Absolutely. Kimberley Quinlan: that is so cool and so people can kind of work through them on their own. Okay. A Peaceful Balance Wichita:  Mm-hmm. And in fact, there there was a family that I worked with whose younger sibling had had some special needs. And what I did with the parents, is I just kind of briefly explained this to them and because they know their kid better than, I know, their child and they know How how their child is going to be able to kind of understand process. This, they were able to take the information they did and that they needed to be able to help out the sibling who now helps out. That the sibling with OCD. Kimberley Quinlan:  Yeah, yeah. Okay. So a couple of quick questions that I want to ask is so and it's a sort of going off of some past cases that I had. So what about the the sibling, Who's just really angry. Kimberley Quinlan: the situation at how the, you know OCD has made their family, very For treatment before they were getting resources. Do, do they There's those children who have a lot of resistance to this idea of being a coach. You work with that. Is it through the empathy? Do you have any thoughts? A Peaceful Balance Wichita: Door. And that's a fantastic question. Because we can't, we can't force. We can't force anybody to do anything. And I kind of view it like the child with OCD, If the child with OCD does not want to do the treatment. Well, then my job as a clinician is to meet that child while they're at and… Kimberley Quinlan: Yeah. A Peaceful Balance Wichita: that very much with the sibling, you know, of the child with Ocds, I'm gonna have to meet that sibling where they're at, if they don't want anything to do with this, if they want nothing to do with any of this process at all. I'll do one of a couple things one. I, I might refer the sibling on to a therapist who doesn't necessarily like they don't necessarily have to treat OCD but they can understand OCD comprehend OCD. Well enough to be able to have a conversation. And sometimes the sibling is like, Well, I'm not the one with the problem. I don't need to go into therapy, so I'll do my best. I can to coach the parents and help them to support that sibling as well. Kimberley Quinlan: Right. Right, so. Okay and just conceptually. So the parents are using the parent. Coaches are using the bc model the children. A Peaceful Balance Wichita:  Yeah. Kimberley Quinlan: If they're ready and willing, they're using the bc model. And the person with the disorder or the medical condition is also using the bc model. Be seen model for the sibling and the family correct. A Peaceful Balance Wichita:  Yeah, I mean this this doesn't have to just be with OCD, In fact, you know, as as I'm looking at just the the acronym of seeing, I don't know if you just has to just reach the medical stuff. Because at the end of the day, don't we generally want to be supportive and empathetic and encouraging and non-judgmental humans. I think just kind of a neat model just to teach our children in general. 00:30:00 Kimberley Quinlan: Mmm. Yeah. Kimberley Quinlan:  That's what I was thinking. business sort of, like, 101 Training to be a nice. and like, A Peaceful Balance Wichita: It really is it really? Like I said, I'm not reinventing the wheel, you know, I was able to use some different strategies that I've learned with. So originally as a therapist, I was on the way to becoming a play therapist. And a lot and also dealing with Dr. Bruce Perry's neurossequential model of. Oh My Gosh. Oh my gosh. Why can't I think what it is? It's his nurse sequential model for trauma. That's what it is. Oh wow. And then just just pulling different plate therapy, text me techniques. And I kind of just establish this thick this and… Kimberley Quinlan: Yeah. A Peaceful Balance Wichita: you're right. This is basically just Yeah, I like how you said 101. Be a nice person. Kimberley Quinlan: Yeah, but the truth is and that's why I think it's so important is we all are nice people. We all want to be but when we get hit by a disorder, It's easy to go into reactivity as a parent. I know for myself or as I've seen, you know, siblings it's easy to go reactive. So these are sort of basic tools to come back to the basics and and recalibrate,… A Peaceful Balance Wichita:  Exact. Kimberley Quinlan: which is why I love it. Okay. So no,… A Peaceful Balance Wichita:  Ly. Yeah. Kimberley Quinlan: I love this so much is before we finish up. Is there anything that we haven't touched on that? You want to make sure we address here and we're talking about Supporting the siblings, but supporting the person with the disorder, any I've missed. A Peaceful Balance Wichita: Um, can I list some resources? Oh, okay. Kimberley Quinlan:  And please. A Peaceful Balance Wichita: There's really not a ton of information out there about how can the sibling be involved with any medical treatment to be honest with you and I'll focus specifically on the OCD portion. Of course, John Hirschfield's amazing book in regards to family at the,… Kimberley Quinlan: On a family,… A Peaceful Balance Wichita: Yes at the very tail,… Kimberley Quinlan: I see. A Peaceful Balance Wichita: and he talks about different ways, family members can can be helpful. Natasha Daniels on her YouTube channel, she's so great. They're all great everybody. I'm listing is like All Stars. She specifically has a video about how to talk about OCD with young children and I think there's actually even more specific video about how to talk with siblings. Dr. Areeen Wagner on the Peace of Mind Foundation website. There is a whole slew of stuff about how to talk with siblings and I think the Bear Family is even involved in some of those presentations as well. And then this is gonna sound silly because I'm gonna shout out another podcast. Is that okay? A Peaceful Balance Wichita: Okay, there's a couple on the OCD stories that they talk about siblings. Jessica, Surber rested. Kimberley Quinlan:  Yes. A Peaceful Balance Wichita: One about her own experiences being a sibling. And then, this is an older one. Maybe two, three years ago. Dr. Michelle Witkins. She does a lot of advocacy for siblings and so she has an amazing podcast on there where she talks about that work. Kimberley Quinlan: Right? No, I will link to Eyes and you know I'm a massive stew fan so don't wait. Don't worry about it. No, I he's been on our show. I've been on his show a bunch of times. We are very much in Communic. A Peaceful Balance Wichita:  I figured, I don't think there was a feud going on. Kimberley Quinlan: Around food at all. No, that's that's so good that you have those and I will list those in the show notes for All as resources to use. I love. Thank you so much for sharing all those and we will have links to your sheets as well. A Peaceful Balance Wichita: ah, Kimberley Quinlan: You can An excellent resources. A Peaceful Balance Wichita:  oh, you're sweet. Thank you. Kimberley Quinlan:  Well, I am so grateful for you to come on and talk about this. I think it's really, really important that we talk about siblings, you know, address the whole family because it is a family condition, right? Thank you. I'm so just overjoyed to have you on the show. A Peaceful Balance Wichita:  Well, thank you. I'm overjoyed to be here. Kimberley Quinlan: Where can people hear from you or get information about you? A Peaceful Balance Wichita: So my website, so my practice name is a peaceful balance, Wichita Kansas, and my website is a PB wichita.com. and really, to be honest with you, probably the easiest way to To contact me is on Instagram. I'm probably on their way more often than I'd like to admit and… Kimberley Quinlan:  Yeah. 00:35:00 A Peaceful Balance Wichita: my handle is at anxiously balanced. Kimberley Quinlan: Love it and you put some amazing exposure lists and movies. It's so good. You but no it's so it's such a huge resource. A Peaceful Balance Wichita: I think I have way too much fun with those. Kimberley Quinlan: If you're looking for specific movies, documentaries songs, I think you do a great job of listing exposures. A Peaceful Balance Wichita:  Thank you.Kimberley Quinlan: Thank you so much.

The Bear Family is typically fairly healthy, and who do they thank for that? GOD. It’s “The Berenstain Bears Thank God for Good Health!” It’s a rewrite if that means anything to ya.

There’s a flood in Bear Town! Oh no! And it’s up to the Bear Family, and the entire town, to help out! Elana joins me for a book that actually involves the Bears… getting involved. It’s “The Berenstain Bears Get Involved!” And, spoiler: THEY DO!

In episode 155 of The Just Checking In Podcast we checked in with Gordon Buchanan. Gordon Buchanan is a Scottish wildlife photographer and filmmaker who has made documentaries for over 20 years. Gordon has made a number of wonderful, intense and thrilling films including: ‘Big Cat Diary', ‘Lost Land of the Volcano', ‘The Bear Family & Me', ‘The Polar Bear Family & Me', ‘Lost Land of The Tiger', ‘Lost Land of The Jaguar', ‘Leopard in the City' and ‘Tribes, Predators and Me'. In this episode we discuss how Gordon broke into the world of wildlife filmmaking, the life-threatening moments he has experienced whilst filming and the mental health impact of being away from his family for periods of time whilst filming. For Gordon's mental health, 10 years ago he had an epiphany about his mental health and realised he had a lot of mental health challenges as a child that he never identified or was aware of. In that year, he was approaching burnout but didn't recognise it before it arrived and it brought about a full-blown period of depression and what he describes as a ‘breakdown of sorts'. When Gordon has gone through these periods, he has used medication to help him get better before coming off of them and he has been on and off medication throughout the last 10 years. We finish by talking about Covid-19 and the reset that gave him for his mental health and his life, how he's achieved a greater level of self-awareness and reconciling people's assumptions about him. As always, #itsokaytovent You can visit Gordon's website and see all of the work he has done in his career here: https://www.gordon-buchanan.co.uk/ You can follow Gordon on social media below: Twitter: https://twitter.com/gordonjbuchanan Instagram: https://www.instagram.com/gordonbuchanan_wildlife/ Support Us: Patreon: www.patreon.com/venthelpuk GoFundMe: www.gofundme.com/f/help-vent-supp…ir-mental-health Merchandise: https://www.redbubble.com/people/VentUK/shop?asc=u&ref=account-nav-dropdown Music: @patawawa - Strange: www.youtube.com/watch?v=d70wfeJSEvk

This week, my voice is SHOT. Also, we learn a lot more about the Bear Family’s house, like the layout and structure and also how God fits into it, apparently? I like it! It’s “The Berenstain Bears God Bless Our Home!”

150. 3 big SCOOPS of real rockin' music packed into each and every show! Serving a refreshing three hours of vintage 50's & modern roots rock in DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" Satisfying rock n' roll, desperate garage, hi-octane hot rod, boppin' hillbilly and nifty neo-billy rhythms are all here for your audio consumption! Dig the latest platters from The Hi-Fly Rangers, Darrel Higham, Toto & The Raw Deal, The Jerrells, Midnight Boppers, Jesse Ray & The Carolina Catfish, The Boneshakers, Voodoo Swing, Marcel Bontempi, Slim Sandy, Slink Moss Explosion, The Sundown Boys, Austin Butler and even Tami Neilson's new album in today's exciting episode! PLUS, we don't skimp on the retro releases as we are proud to have the latest BEAR FAMILY comps in the Motorbilly Studio tonight including the latest THAT'LL FLAT... GIT IT! releases and the new Billy Jack Wills 'Shake The Shake' series release! Hear Elvis Presley's first "unofficial" recording, Jimmy Wages, Glenn Barber, Jack Scott, Faron Young, Johnny Cash, Marvin Rainwater and even some Ronnie Dawson in our Tuesday nite mix. You can't beat it for taste & satisfaction! "Go Kat, GO!" -good to the last BOP!™

Join my authorpreneur work week Monday - Saturday and see what it's like to kick off a book launch, interview with a magazine & more this week. After Show Notes: In this episode I referenced author Lynessa Layne who is on the cover of the quarter 1 issue of GEMS Magazine. Author Lynessa Layne has her series, "Don't Close Your Eyes" at airport gift shops and Independent Bookstores throughout the U.S. She tells us step by step in GEMS Magazine just how she did that. You can grab GEMS Magazine here https://www.amazon.com/dp/B09P1SL13B/ I also kicked off author Iesha Shaw's launch of her children's book The Bear Family reunion you can check that out for the children in your life here ------->  https://www.amazon.com/dp/1956653899/ Things did slow down enough this week for me to have a quick Q & A session with Tabatha Jones author of Musings: The Joy's Joy. Tabatha will be participating in my upcoming Book Marketing Class and I wanted to make sure I included anything not only what I wanted to teach but anything clients like her wanted taught in a book marketing class. You can check out The GEMS Book Marketing Course on Teachable here----> https://bookmarketinggems.teachable.com/ Tabatha Jones Poetry book, "Musings: The Joys Joy" can be found on Amazon here https://www.amazon.com/dp/B08DDCP4J4/ After speaking to Tabatha I realized I wanted to give you guys some GEMS of Marketing for your books for free. So if you shoot me an email on my website https://lamoniquemac.com/contact/ and request The Book Golden Book Marketing Road Map, i'll get that to you for free. The Golden Book Marketing Road Map the proven steps i've used to achieve Amazon Best Seller Status in my genre and achieve sales growth for my book series, The Mixed Girl Series / Poor Little Mixed Girl https://www.amazon.com/dp/B08PZ7MFX9 Thank you for listening and please consider leaving a review on the platform you listen on. Thank you.  --- Send in a voice message: https://anchor.fm/lamonique-mac/message

Two bear

Sintonía: "Wise Guys (You're a Wise Guy)" - Julia Lee La cantante, pianista y compositora de Blues, Rhythm & Blues, Boogie Woogie y, por supuesto, Jazz, en una reedición del sello germano Bear Family de 5 CDs !!! "Julia´s Blues" - "Gotta Gimme Whatcha´Got" - "When a Woman Loves a Man" - "Oh Marie" - "I´ll Get Along Somehow" - "A Porter´s Love Song To A Chambermaid" - "Have You Ever Been Lonely?" - "Since I´ve Been With You" - "Out In The Cold Again" - "Young Girl´s Blues" - "On My Way Out" - "There Goes My Heart" - "Snatch And Grab It" - "If You Hadn´t Gone Away" - "Nobody Knows You When You´re Down And Out" - "The Curse Of An Aching Heart" - "Bleeding Hearted Blues" Todas las canciones cantadas e interpretadas al piano por Julia Lee Escuchar audio

This week, the Bear Family goes OUT TO EAT and… that’s it. That’s all they do.

David Bear, owner of a McDonald's location in Elk Grove Village (and 22 other locations throughout the Chicagoland area), joins Anna to talk about some of the refreshing beverage options now being offered across the Chicago area, how the business has changed since his parents opened their first McDonald’s in 1967, the importance of giving […]

On this Memorial Day, 2021, I dedicate this podcast to all of our military men and women who didn't make it back home.  Thank you for your service!  You are remembered with great love!I also dedicate this to my Bear Family...Sandy Reed, Mev Wilson, Christopher Reynolds, John Lowe, Pam Fitch, Eric Fitch, and of course Jacob Laughing Fox Fitch.Cottonwood Stonewww.CottonwoodStone.comcotton@cottonwoodstone.com Social Media:  Facebook  Instagram  LinkedIn  Twitter  YouTubeThe music for the Quantum Corner is entitled “Waiting”, written by Cottonwood Stone and Rachel George.  The complete soundtrack can be found at www.cottonwoodstone.com/videosThis podcast is a production of Cottonwood Stone Services. 

Get up kids! It’s time for SUNDAY SCHOOL! In this episode, the Bear Family goes to Sunday School. But, where did Sunday School come from? Who invented it? What about the song Mama and Papa sing? And they went to Sunday School together? Also, Noah’s Ark… did it stink? It’s “The Berenstain Bears Go To … Continue reading "Episode 297 – Go To Sunday School!"

Soap socks and cum jokes and Dwayne Johnson in tow, Aaron Rogers two weeks in a row. Juliette, Jasper, Spencer, and Soph too, these are all things in this episode for you! Listeners, that was a fun diddy but this episode is serious. We make our apologies, thank the powers at be and join J and J (Juliette and Jasper, NOT the vaccine, Fauci, get off our ass) in abolishing NPR-core. We cancel a real person who should face justice and have a great time doing it. Introducing our new investigative segment: To Hunt a Tip!

In this episode of Dyer's Daily, Jamie Dyer discusses a new entry to The Drugstore's Rockin' series from Bear Family Records; Suzie Baby by Bobby Vee.

FIRST SET: Dubster Diving & Thrift Store Factor TunesBetty Davis - “Hangin' Out” from The Columbia Years 1968-1969 [Light In The Attic, 2016]Veyrouz Mint Seymali - “The Li Aazeyt” from Music From Saharan WhatsApp 09 [Sahel Sounds, 2020]Y Pants - “Love's A Disease” from Beat It Down  [Neutral, 1982]Treasury Of Puppies - “Ljug Mig Ut” from Self-Titled [Forlag For Fri Musik, 2020]Shirley Collins & The Albion Country Band - “Claudy Banks” from No Roses [Pegasus, 1971](mic break)David Nance - “July Sunrise” from Staunch Honey [Trouble In Mind, 2020]Alton Ellis - “Darling It's True” from Daydreaming [Silver Camel, 1983]Jim Ford - “She Turns My Radio On” from The Sounds of Our Time compilation [Bear Family, 2007]The City - “I Wasn't Born To Follow” from Now That Everything's Been Said [Ode, 1968]Karen Beth - “Come December” from The Joys of Life [Decca, 1968] (mic break)Medium Medium - “Hungry, So Angry” from The Glitterhouse [Cherry Red, 1981]Derrick Harriott - “Solomon” from 14 Chartbuster Hits [Crystal, 1973]Hole Class - “Wrong Mirror” from Self-Titled [Meds, 2009]Hearts & Flowers - “Second-Hand Sundown Queen” from Of Horses, Kids, And Forgotten Women [Capitol, 1968]Butch Hancock - “Just One Thunderstorm” from West Texas Waltzes & Dust-blown Tractor Tunes [Rainlight Records, 1978]  SECOND SET: Never Wacky, Always Human - Interview & Live Music with Richard Youngs1. Interview2. "Mountains Into Outerspace" live performance3. "Collapsing Stars" live performance4. Interview continued5. "Retrace" live performance6. "I Wasn't Alone" live performance7. Interview continuedTHIRD SET: The Long Good Buy - Inherent Vibes (Recent Acquisitions Edition)Slapp Happy - “The Drum” from Slapp Happy or Slapp Happy - Acnalbasac Noom [Recommended/Our Swimmer, 1980/2020]Caetano Veloso - “The Empty Boat” from 2nd Self-Titled [Philips, 1969]Bitter Funeral Beer Band - “Chetu” from Live In Frankfurt ‘82 [Black Sweat, 2018]John Lee Hooker - “Walkin' The Boogie” from House Of The Blues [Chess/DOL, 1960/2017](mic break)Les Rallizes Denudes - “Untitled 2” from Oz Days Live 1973 [Alternative Fox, 2019]Brother Ahh/Robert Northern - “Enthusiasm” from Move Ever Onward [Divine/Manufactured, 1975/2016]Jan Dukes De Grey - “Mice And Rats In The Loft” from Mice And Rats In The Loft [Transatlantic/Trading Places, 1971/2020](mic break)Annette Peacock - “My Mama Never Taught Me How To Cook” from X-Dreams [Tomato, 1979]Effluvium - Suze (ft. Blood Tower) from Répétition Finale [Moonworshipper, 2020](mic break)Richard Youngs - “Soon It Will Be Fire” from Sapphie [Oblique/Jagjaguwar, 1998/2006] 

A long set of pioneering women of gospel in celebration of Women's History Month, selections from the Bear Family collection on Rev. Robert Ballinger, and much more!

Are you ready to hit the beach, once again?! We’re taking off with the Bear Family to Gull Island and this time, we’re just going to kick back and enjoy the book. No history, no complaints, no nothin’! It’s just a solid book with great illustrations. It’s “The Berenstain Bears Go On Vacation!”

This week, I’m peekin’ at TWO books about introducing pets into the Bear Family. “The Berenstain Bears’ New Pup” and “The Berenstain Bears’ New Kitten!” Are they useful books as far as educating children about the ins and outs of acquiring a new pet? Lulz.

We get updates on wildfires burning in the B.C. interior; Hear about life after CERB; Health Minister Adrian Dix answers questions about COVID-19 rule enforcement; And we hear about a cinnamon bear with two cubs attracting curiousity and concern in Fort St. John.

Jerry Lee Lewis And Friends - Save The Last Dance For Me (1978) Jerry Lee Lewis And Friends - Sweet Little Sixteen (1978) Jerry Lee Lewis And Friends - I Love You Because (1978) From Discogs: A very weird, and weirdly entertaining, curiosity of an album. The liner notes simply say that the sessions that produced these tracks are "clouded in mystery," with the result that Lewis's lone duet partner on these tracks is never actually identified. Whoever he is, let's just say that he could make a very good living as an Elvis impersonator, and probably does. Let's also say that it's more than possible that his vocals were added years (if not decades) after the original sessions, which sound as if they derive from the early '60s, just before Lewis left Sun Records. Personnel: Jerry Lee Lewis (vocals, piano). Audio Remixer: Bob Smith. Producers: Sam C. Phillips, Jack Clement. Compilation producers: Shelby S. Singleton, Jim Wilson. Mojo (Publisher) (5/02, p.144) -"...A wonderful con devised by producer Shelby Singleton...Acquiring Lewis's Sun originals he persuaded Jimmy Ellis, perhaps the greatest Elvis impersonator, to imitate The King and overdubbing did the rest. Listeners were left open-mouthed..."Factually this artificial album issued in 1978 was composed by two unequal parts:1) most of tracks (9 of 11) are Jerry Lee Lewis recordings from sessions 1960-1962 later overdubbed by Jimmy Ellis vocals;2) two tracks ("Am I To Be The One" and "Sail Away") are Jerry Lee Lewis and Charlie Rich authentic duo recorded in 1959 and previously issued correspondingly in 1970 (on album Jerry Lee Lewis - A Taste Of Country without credit to Rich) and in 1975 (on compilation Kings Of Country Vol.2 where Rich was credited).So this album is performed, besides Jerry Lee Lewis himself, partially by "false friend" Jimmy Ellis (who never recorded together with Lewis) and partially by "true friend" Charlie Rich.Ellis and Rich were not credited, so them remain unnamed mysterious "friends".Though Lewis Sun sessions from 1960 to 1963 were recorded in stereo, this album was released in mono (maybe because duos with Charlie Rich do not have stereo versions).In 1996 this album was also reissued on CD in stereo. Two mono duos with Charlie Rich were removed, and three other tracks with overdubs by Ellis were added. Jerry Lee Lewis - Rockin' Jerry Lee (1980) Orion - Ebony Eyes (1979) Orion - Rockabilly Rebel (1980) Orion - Texas Tea (1980)  Ronnie McDowell - Walking Through Georgia In The Rain (1977) Ronnie McDowell - Animal (1978)  Ronnie McDowell - This is A Hold Up (1978) Kinda rapey. "It's not your money. Since I tasted your honey..." The Flatlanders - Bhagavan Decreed (1972)  The Flatlanders - Dallas (1972)  The Flatlanders - She Had Everything (1972) Phil Ochs - Kansas City Bomber (1972) Bill Medley - Old Friend (1985)  Roy Orbison - Hound Dog Man (1979) The Four Tops - Gira Gira Reach Out (I'll Be There)  Martha Reeves and the Vandellas - Jimmy Mack  Four Tops – L'Arcobaleno Walk Away, Renee Jimmy Ruffin - Se Decidi Cosi' What Becomes Of The Brokenhearted Stevie Wonder - Mi Querido Amor  My Cherie Amour Stevie Wonder - Por Primera Vez  For Once In My Life The Temptations - Mein Girl My Girl The Supremes - Baby, Baby, Wo Ist Unsere Liebe Where Did Our Love Go The Supremes - Jonny Und Jo Come See About Me Marvin Gaye - Wie Schön Das Ist How Sweet It Is (To Be Loved By You) Johnny Cash Sings In German (late 50's) "Besser so Jenny Joe" "Kleine Rosmarie" "In Virginia" "Wo ist Zuhause Mama" "Wer kennt den Weg" From "The Current": Johnny Cash's German-language songs were released in Germany and to some extent in the United States, but are not very well known on this side of the Atlantic. Two of the tracks appear on an album, The Unissued Johnny Cash, released in 1978 on the Germany-based label, Bear Family Records. "Bear Family is the single most prolific label out of Germany that put out recordings of American artists," says Val Camilletti, owner of Val's Halla Records in Oak Park, Ill., just outside Chicago. "They are renowned for their box sets of recordings by Buddy Holly, Chet Atkins, the Everly Brothers and so many others, especially in the world of rockabilly. The label is extremely important. It's a goldmine of American artists." According to liner notes that appear on The Unissued Johnny Cash, Cash recorded the German-language songs in the late 1950s after he had moved from Sun Records to CBS Records, and the latter label noticed that Cash's song, "Don't Take Your Guns to Town," proved a big hit in Germany. At the label's request, in 1959, Cash recorded a handful of tracks in German, including "I Got Stripes," translated as "Viel Zu Spät." Johnny Hallyday - L'Histoire De Bobby McGee (1975)  Milan Drobný - Kdo Ví (1975) Vicky Leandros - L'amour Est Bleu (1967) Les 409 - S'il Faut un Homme (1967)  

Hey Bears! This week we are talking face masks. To follow State guidance on keeping our Bear Family healthy this fall, we will be wearing Face Masks out and about. That means anytime you are outside of your residence halls, pop on a mask. While most people who get COVID-19 do recover, we want to do our part to keep those more vulnerable to a severe or complicated infection safe! Wearing a mask protects those around you more than it does yourself. Even if you feel comfortable or are not at a higher risk, please protect your classmates, friends, peers, and the staff and faculty on campus. So remember, BearsCare: Wear a Mask. How to Make a Facemask Follow Us on Instagram

Are you ready to get sandy?! No? Me neither. I hate the beach. But, the Bear Family loves(?) it! They can’t wait to get there! So, of course, Mama and Papa make the cubs wait. And wait. And wait. And then they get in the water. That’s the story! SEA ya! https://ia601500.us.archive.org/4/items/dibcep232/DIBC-EP232.mp3

Are you ready to get sandy?! No? Me neither. I hate the beach. But, the Bear Family loves(?) it! They can’t wait to get there! So, of course, Mama and Papa make the cubs wait. And wait. And wait. And then they get in the water. That’s the story! SEA ya! https://ia601500.us.archive.org/4/items/dibcep232/DIBC-EP232.mp3

The whole bear family is coming over for a Christmas Dinner! Who will end up with the greatest white elephant gift of them all!

    Episode fifty-seven of A History of Rock Music in Five Hundred Songs looks at “Flying Saucers Rock ‘n’ Roll” by Billy Lee Riley and the Little Green Men, and at the flying saucer craze of the fifties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Silhouettes” by the Rays, and the power of subliminal messages. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I’m relying heavily on Sam Phillips: the Man Who Invented Rock and Roll by Peter Guralnick for all the episodes dealing with Phillips and Sun Records. I’ve also relied on a lot of websites for this one, including this very brief outline of Riley’s life in his own words.   There are many compilations of Riley’s music. This one, from Bear Family, is probably the most comprehensive collection of his fifties work.  The Patreon episode on “The Flying Saucer”, for backers who’ve not heard it, is at https://www.patreon.com/posts/27855307 Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   ERRATUM I mistakenly said “Jack Earl” instead of Jack Earls at one point.   Transcript   Let’s talk about flying saucers for a minute. One aspect of 1950s culture that probably requires a little discussion at this point is the obsession in many quarters with the idea of alien invasion. Of course, there were the many, many, films on the subject that filled out the double bills and serials, things like “Flying Disc Man From Mars”, “Radar Men From The Moon”, “It Came From Outer Space”, “Earth vs. the Flying Saucers”, and so on. But those films, campy as they are, reveal a real fascination with the idea that was prevalent throughout US culture at the time. While the term “flying saucer” had been coined in 1930, it really took off in June 1947 when Kenneth Arnold, a Minnesotan pilot, saw nine disc-shaped objects in the air while he was flying. Arnold’s experience has entered into legend as the canonical “first flying saucer sighting”, mostly because Arnold seems to have been, before the incident, a relatively stable person — or at least someone who gave off all the signals that were taken as signs of stability in the 1940s. Arnold seems to have just been someone who saw something odd, and wanted to find out what it was that he’d seen. But eventually two different groups of people seem to have dominated the conversation — religious fanatics who saw in Arnold’s vision a confirmation of their own idiosyncratic interpretation of the Bible, and people who believed that the things Arnold had seen came from another planet. With no other explanations forthcoming, he turned to the people who held to the extraterrestrial hypothesis as being comparatively the saner option. Over the next few years, so did a significant proportion of the American population. The same month as Kenneth Arnold saw his saucers, a nuclear test monitoring balloon crashed in Roswell, New Mexico. A farmer who found some of the debris had heard reports of Arnold’s sightings, and put two and two together and made space aliens. The Government didn’t want to admit that the balloon had been monitoring nuclear tests, and so various cover stories were put out, which in turn led to the belief in aliens becoming ever more widespread. And this tied in with the nuclear paranoia that was sweeping the nation. It was widely known, of course, that both the USA and Russia were working on space programmes — and that those space programmes were intimately tied in with the nuclear missiles they were also developing. While it was never stated specifically, it was common knowledge that the real reason for the competition between the two nations to build rockets was purely about weapons delivery, and that the civilian space programme was, in the eyes of both governments if not the people working on it, merely a way of scaring the other side with how good the rockets were, without going so far that they might accidentally instigate a nuclear conflict. When you realise this, Little Richard’s terror at the launch of Sputnik seems a little less irrational, and so does the idea that there might be aliens from outer space. So, why am I talking about flying saucers? Well, there are two reasons. The first is that, among other things, this podcast is a cultural history of the latter part of the twentieth century, and you can’t understand anything about the mid twentieth century without understanding the deeply weird paranoid ideas that would sweep the culture. The second is that it inspired a whole lot of records. One of those, “the Flying Saucer”, I’ve actually already looked at briefly in one of the Patreon bonus episodes, but is worth a mention here — it was a novelty record that was a very early example of sampling: [Excerpt: Buchanan and Goodman, “The Flying Saucer”] And there’d been “Two Little Men in a Flying Saucer” by Ella Fitzgerald: [Excerpt: Ella Fitzgerald, “Two Little Men in a Flying Saucer”] But today we’re going to look at one of the great rockabilly records, by someone who was one of the great unsung acts on Sun Records: [Excerpt: Billy Lee Riley and the Little Green Men, “Flying Saucers Rock and Roll”] Billy Lee Riley was someone who was always in the wrong place at the wrong time — for example, when he got married after leaving the army, he decided to move with his new wife to Memphis, and open a restaurant. The problem was that neither of them knew Memphis particularly well, and didn’t know how bad the area they were opening it in was. The restaurant was eventually closed down by the authorities after only three months, after a gunfight between two of their customers. But there was one time when he was in precisely the right place at the right time. He was an unsuccessful, down on his luck, country singer in 1955, when he was driving on Christmas morning, from his in-laws’ house in Arkansas to his parents’ house three miles away, and he stopped to pick up two hitch-hikers. Those two hitch-hikers were Cowboy Jack Clement and Ronald “Slim” Wallace, two musicians who were planning on setting up their own record company. Riley was so interested in their conversation that while he’d started out just expecting to drive them the three miles he was going, he ended up driving them the more than seventy miles to Memphis. Clement and Wallace invited Riley to join their label. They actually had little idea of how to get into the record business — Clement was an ex-Marine and aspiring writer, who was also a dance instructor — he had no experience or knowledge of dancing when he became a dance instructor, but had decided that it couldn’t be that difficult. He also played pedal steel in a Western Swing band led by someone called Sleepy-Eyed John Epley. Wallace, meanwhile, was a truck driver who worked weekends as a bass player and bandleader, and Clement had joined Wallace’s band as well as Epley’s. They regularly commuted between Arkansas, where Wallace owned a club, and Memphis, where Clement was based, and on one of their journeys, Clement, who had been riding in the back seat, had casually suggested to Wallace that they should get into the record business. Wallace would provide the resources — they’d use his garage as a studio, and finance it with his truck-driving money — while Clement would do the work of actually converting the garage into a studio. But before they were finished, they’d been out drinking in Arkansas on Christmas Eve with Wallace’s wife and a friend, and Clement and the friend had been arrested for drunkenness. Wallace’s wife had driven back to Memphis to be home for Christmas day, while Wallace had stayed on to bail out Clement and hitch-hike back with him. They hadn’t actually built their studio yet, as such, but they were convinced it was going to be great when they did, and when Riley picked them up he told them what a great country singer he was, and they all agreed that when they did get the studio built they were going to have Riley be the first artist on their new label, Fernwood Records. In the meantime, Riley was going to be the singer in their band, because he needed the ten or twelve dollars a night he could get from them. So for a few months, Riley performed with Clement and Wallace in their band, and they slowly worked out an act that would show Riley’s talents off to their best advantage. By May, Clement still hadn’t actually built the studio — he’d bought a tape recorder and a mixing board from Sleepy-Eyed John Epley, but he hadn’t quite got round to making Wallace’s garage into a decent space for recording in. So Clement and Wallace pulled together a group of musicians, including a bass player, because Clement didn’t think Wallace was good enough, Johnny Bernero, the drummer who’d played on Elvis’ last Sun session, and a guitarist named Roland Janes, and rented some studio time from a local radio station. They recorded the two sides of what was intended to be the first single on Fernwood Records, “Rock With Me Baby”: [Excerpt: Billy Lee RIley, “Rock With Me Baby”] So they had a tape, but they needed to get it properly mastered to release it as a single. The best place in town to do that was at Memphis Recording Services, which Sam Phillips was still keeping going even though he was now having a lot of success with Sun. Phillips listened to the track while he was mastering it, and he liked it a lot. He liked it enough, in fact, that he made an offer to Clement — rather than Clement starting up his own label, would he sell the master to Phillips, and come and work for Sun records instead? He did, leaving Slim Wallace to run Fernwood on his own, and for the last few years that Sun was relevant, Cowboy Jack Clement was one of the most important people working for the label — second only to Sam Phillips himself. Clement would end up producing sessions by Johnny Cash, Carl Perkins, Jerry Lee Lewis, and others. But his first session was to produce the B-side to the Billy Lee Riley record. Sam Phillips hadn’t liked their intended B-side, so they went back into the studio with the same set of musicians to record a “Heartbreak Hotel” knockoff called “Trouble Bound”: [Excerpt: Billy Lee Riley, “Trouble Bound”] That was much more to Sam’s liking, and the result was released as Billy Lee Riley’s first single. Riley and the musicians who had played on that initial record became the go-to people for Clement when he wanted musicians to back Sun’s stars. Roland Janes, in particular, is someone whose name you will see on the credits for all sorts of Sun records from mid-56 onwards. Riley, too, would play on sessions — usually on harmonica, but occasionally on guitar, bass, or piano. There’s one particularly memorable moment of Riley on guitar at the end of Jerry Lee Lewis’ first single, a cover version of Ray Price’s “Crazy Arms”. That song had been cut more as a joke than anything else, with Janes, who couldn’t play bass, on bass. Right at the end of the song, Riley picked up a guitar, and hit a single wrong chord, just after everyone else had finished playing, and while their sound was dying away: [Excerpt: Jerry Lee Lewis, “Crazy Arms”] Sam Phillips loved that track, and released it as it was, with Riley’s guitar chord on it. Riley, meanwhile, started gigging regularly, with a band consisting of Janes on guitar, new drummer Jimmy Van Eaton, and, at first, Jerry Lee Lewis on piano, all of whom would play regularly on any Sun sessions that needed musicians. Now, we’re going to be talking about Jerry Lee Lewis in a couple of weeks, so I don’t want to talk too much about him here, but you’ll have noticed that we already talked about him quite a bit in the episode on “Matchbox”. Jerry Lee Lewis was one of those characters who turn up everywhere, and even before he was a star, he was making a huge impression on other people’s lives. So while this isn’t an episode about him, you will see his effect on Riley’s career. He’s just someone who insists on pushing into the story before it’s his turn. Jerry Lee was the piano player on Riley’s first session for Sun proper. The song on that session was brought in by Roland Janes, who had a friend, Ray Scott, who had written a rock and roll song about flying saucers. Riley loved the song, but Phillips thought it needed something more — it needed to sound like it came from outer space. They still didn’t have much in the way of effects at the Sun studios — just the reverb system Phillips had cobbled together — but Janes had a tremolo bar on his guitar. These were a relatively new invention — they’d only been introduced on the Fender Stratocaster a little over two years earlier, and they hadn’t seen a great deal of use on records yet. Phillips got Janes to play making maximum use of the tremolo arm, and also added a ton of reverb, and this was the result: [Excerpt: Billy Lee Riley and the Little Green Men, “Flying Saucers Rock and Roll”] Greil Marcus later said of that track that it was “one of the weirdest of early rock ‘n’ roll records – and early rock ‘n’ roll records were weird!” — and he’s right. “Flying Saucers Rock & Roll” is a truly odd recording, even by the standards of Sun Records in 1957. When Phillips heard that back, he said “Man that’s it. You sound like a bunch of little green men from Mars!” — and then immediately realised that that should be the name of Riley’s backing band. So the single came out as by Billy Lee Riley and the Little Green Men, and the musicians got themselves a set of matching green suits to wear at gigs, which they bought at Lansky’s on Beale Street. Those suits caused problems, though, as they were made of a material which soaked up sweat, which was a problem given how frantically active Riley’s stage show was — at one show at the Arkansas State University Riley jumped on top of the piano and started dancing — except the piano turned out to be on wheels, and rolled off the stage. Riley had to jump up and cling on to a steel girder at the top of the stage, dangling from it by one arm, while holding the mic in the other, and gesturing frantically for people to get him down. You can imagine that with a show like that, absorbent material would be a problem, and sometimes the musicians would lie on their backs to play solos and get the audiences excited, and then find it difficult to get themselves back to their feet again, because their suits were so heavy. Riley’s next single was a cover of a blues song first recorded by another Sun artist, Billy “the Kid” Emerson, in 1955. “Red Hot” had been based on a schoolyard chant: [Excerpt: Billy “the Kid” Emerson, “Red Hot”] While “Flying Saucers Rock and Roll” had been a local hit, but not a national one, Billy was confident that his version of “Red Hot” would be the record that would make him into a national star: [Excerpt: Billy Lee Riley and the Little Green Men, “Red Hot”] The song was recorded either at the same session as “Flying Saucers Rock and Roll” or at one a couple of weeks later with a different pianist — accounts vary — but it was put on the shelf for six months, and in that six months Riley toured promoting “Flying Saucers Rock and Roll”, and also carried on playing on sessions for Sun. He played bass on “Take Me To That Place” by Jack Earls: [Excerpt: Jack Earls, “Take Me To That Place”]  Rhythm guitar on “Miracle of You” by Hannah Fay: [Excerpt: Hannah Fay, “Miracle of You”] And much more. But he was still holding out hopes for the success of “Red Hot”, which Sam Phillips kept telling him was going to be his big hit. And for a while it looked like that might be the case. Dewey Phillips played the record constantly, and Alan Freed tipped it to be a big hit. But for some reason, while it was massive in Memphis, the track did nothing at all outside the area — the Memphis musician Jim Dickinson once said that he had never actually realised that “Red Hot” hadn’t been a hit until he moved to Texas and nobody there had heard it, because everyone in Memphis knew the song. Riley and his band continued recording for Sun, both recording for themselves and as backup musicians for other artists. For example Hayden Thompson’s version of Little Junior Parker’s “Love My Baby”, another rockabilly cover of an old Sun blues track, was released shortly after “Red Hot”, credited to Thompson “with Billy Lee Riley’s band [and] Jerry Lee Lewis’ ‘pumping piano'”: [Excerpt: Hayden Thompson, “Love My Baby”]  But Riley was starting to get suspicious. “Red Hot” should have been a hit, it was obvious to him. So why hadn’t it been? Riley became convinced that what had happened was that Sam Phillips had decided that Riley and his band were more valuable to him as session musicians, backing Jerry Lee Lewis and whoever else came into the studio, than as stars themselves. He would later claim that he had actually seen piles of orders for “Red Hot” come in from record shops around the country, and Sam Phillips phoning the stores up and telling them he was sending them Jerry Lee Lewis records instead. He also remembered that Sam had told him to come off the road from a package tour to record an album — and had sent Jerry Lee out on the tour in his place. He became convinced that Sam Phillips was deliberately trying to sabotage his career. He got drunk, and he got mad. He went to Sun studios, where Sam Phillips’ latest girlfriend, Sally, was working, and started screaming at her, and kicked a hole in a double bass. Sally, terrified, called Sam, who told her to lock the doors, and to on no account let Riley leave the building. Sam came to the studio and talked Riley down, explaining to him calmly that there was no way he would sabotage a record on his own label — that just wouldn’t make any sense. He said ““Red Hot” ain’t got it. We’re saving you for something good.’ ” By the time Sam had finished talking, according to Riley, “I felt like I was the biggest star on Sun Records!” But that feeling didn’t last, and Riley, like so many Sun artists before, decided he had a better chance at stardom elsewhere. He signed with Brunswick Records, and recorded a single with Owen Bradley, a follow-up to “Flying Saucers Rock & Roll” called “Rockin’ on the Moon”, which I wouldn’t be at all surprised to hear had been an influence on Joe Meek: [Excerpt: Billy Lee Riley, “Rockin’ on the Moon”] But that wasn’t a success either, and Riley came crawling back to Sun, though he never trusted Phillips again. He carried on as a Sun artist for a while, and then started recording for other labels based around Memphis, under a variety of different names. with a variety of different bands. For example he played harmonica on “Shimmy Shimmy Walk” by the Megatons, a great instrumental knock-off of “You Don’t Love Me”: [Excerpt: The Megatons, “Shimmy Shimmy Walk Part 1”] Indeed, he had a part to play in the development of another classic Memphis instrumental, though he didn’t play on it. Riley was recording a session under one of his pseudonyms at the Stax studio, in 1962, and he was in the control room after the session when the other musicians started jamming on a twelve-bar blues: [Excerpt: Booker T and the MGs, “Green Onions”] But we’ll talk more about Booker T and the MGs in a few months’ time. After failing to make it as a rock and roll star, Billy Riley decided he might as well go with what he’d been most successful at, and become a full-time session musician. He moved to LA, where he was one of the large number of people who were occasional parts of the group of session players known as the Wrecking Crew. He played harmonica, for example, on the album version of the Beach Boys’ “Help Me Ronda”: [Excerpt: The Beach Boys, “Help Me, Ronda”] And on Dean Martin’s “Houston”: [Excerpt: Dean Martin, “Houston”] After a couple of years of this, he went back to the south, and started recording again for anyone who would have him. But again, he was unlucky in sales — and songs he recorded would tend to get recorded by other artists. For example, in 1971 he recorded a single produced by Chips Moman, the great Memphis country-soul producer and songwriter who had recently revitalised Elvis’ career. That song, Tony Joe White’s “I’ve Got a Thing About You Baby” started rising up the charts: [Excerpt: Billy Lee Riley, “I’ve Got A Thing About You Baby”] But then Elvis released his own version of the song, and Riley’s version stalled at number ninety-three. In 1973, Riley decided to retire from the music business, and go to work in the construction industry instead. He would eventually be dragged back onto the stage in 1979, and he toured Europe after that, playing to crowds of rockabilly fans In 1992, Bob Dylan came calling. It turned out that Bob Dylan was a massive Billy Lee Riley fan, and had spent six years trying to track Riley down, even going so far as to visit Riley’s old home in Tennessee to see if he could find him. Eventually he did, and he got Riley to open for him on a few shows in Arkansas and Tennessee, and in Little Rock he got Riley to come out on stage and perform “Red Hot” with him and his band: [Excerpt: Bob Dylan and Billy Lee Riley, “Red Hot”] In 2015, when Dylan was awarded the “Musicares person of the year” award, he spent most of his speech attacking anyone in the music industry who had ever said a bad word about Bob Dylan. It’s one of the most extraordinarily, hilariously, petty bits of score-settling you’ll ever hear, and I urge you to seek it out online if you ever start to worry that your own ego bruises too easily. But in that speech Dylan does say good things about some people.He talks for a long time about Riley, and I won’t quote all of it, but I’ll quote a short section: “He was a true original. He did it all: He played, he sang, he wrote. He would have been a bigger star but Jerry Lee came along. And you know what happens when someone like that comes along. You just don’t stand a chance. So Billy became what is known in the industry—a condescending term—as a one-hit wonder. But sometimes, just sometimes, once in a while, a one-hit wonder can make a more powerful impact than a recording star who’s got 20 or 30 hits behind him.” Dylan went on to talk about his long friendship with Riley, and to say that the reason he was proud to accept the Musicares award was that in his last years, Musicares had helped Billy Lee Riley pay his doctor’s bills and keep comfortable, and that Dylan considered that a debt that couldn’t be repaid. Billy Lee Riley gave his final performance in June 2009, on Beale Street in Memphis, using a walking frame for support. He died of colon cancer in August 2009, aged 75.

    Episode fifty-seven of A History of Rock Music in Five Hundred Songs looks at "Flying Saucers Rock 'n' Roll" by Billy Lee Riley and the Little Green Men, and at the flying saucer craze of the fifties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Silhouettes" by the Rays, and the power of subliminal messages. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I'm relying heavily on Sam Phillips: the Man Who Invented Rock and Roll by Peter Guralnick for all the episodes dealing with Phillips and Sun Records. I've also relied on a lot of websites for this one, including this very brief outline of Riley's life in his own words.   There are many compilations of Riley's music. This one, from Bear Family, is probably the most comprehensive collection of his fifties work.  The Patreon episode on "The Flying Saucer", for backers who've not heard it, is at https://www.patreon.com/posts/27855307 Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   ERRATUM I mistakenly said “Jack Earl” instead of Jack Earls at one point.   Transcript   Let's talk about flying saucers for a minute. One aspect of 1950s culture that probably requires a little discussion at this point is the obsession in many quarters with the idea of alien invasion. Of course, there were the many, many, films on the subject that filled out the double bills and serials, things like "Flying Disc Man From Mars", "Radar Men From The Moon", "It Came From Outer Space", "Earth vs. the Flying Saucers", and so on. But those films, campy as they are, reveal a real fascination with the idea that was prevalent throughout US culture at the time. While the term "flying saucer" had been coined in 1930, it really took off in June 1947 when Kenneth Arnold, a Minnesotan pilot, saw nine disc-shaped objects in the air while he was flying. Arnold's experience has entered into legend as the canonical "first flying saucer sighting", mostly because Arnold seems to have been, before the incident, a relatively stable person -- or at least someone who gave off all the signals that were taken as signs of stability in the 1940s. Arnold seems to have just been someone who saw something odd, and wanted to find out what it was that he'd seen. But eventually two different groups of people seem to have dominated the conversation -- religious fanatics who saw in Arnold's vision a confirmation of their own idiosyncratic interpretation of the Bible, and people who believed that the things Arnold had seen came from another planet. With no other explanations forthcoming, he turned to the people who held to the extraterrestrial hypothesis as being comparatively the saner option. Over the next few years, so did a significant proportion of the American population. The same month as Kenneth Arnold saw his saucers, a nuclear test monitoring balloon crashed in Roswell, New Mexico. A farmer who found some of the debris had heard reports of Arnold's sightings, and put two and two together and made space aliens. The Government didn't want to admit that the balloon had been monitoring nuclear tests, and so various cover stories were put out, which in turn led to the belief in aliens becoming ever more widespread. And this tied in with the nuclear paranoia that was sweeping the nation. It was widely known, of course, that both the USA and Russia were working on space programmes -- and that those space programmes were intimately tied in with the nuclear missiles they were also developing. While it was never stated specifically, it was common knowledge that the real reason for the competition between the two nations to build rockets was purely about weapons delivery, and that the civilian space programme was, in the eyes of both governments if not the people working on it, merely a way of scaring the other side with how good the rockets were, without going so far that they might accidentally instigate a nuclear conflict. When you realise this, Little Richard's terror at the launch of Sputnik seems a little less irrational, and so does the idea that there might be aliens from outer space. So, why am I talking about flying saucers? Well, there are two reasons. The first is that, among other things, this podcast is a cultural history of the latter part of the twentieth century, and you can't understand anything about the mid twentieth century without understanding the deeply weird paranoid ideas that would sweep the culture. The second is that it inspired a whole lot of records. One of those, "the Flying Saucer", I've actually already looked at briefly in one of the Patreon bonus episodes, but is worth a mention here -- it was a novelty record that was a very early example of sampling: [Excerpt: Buchanan and Goodman, "The Flying Saucer"] And there'd been "Two Little Men in a Flying Saucer" by Ella Fitzgerald: [Excerpt: Ella Fitzgerald, "Two Little Men in a Flying Saucer"] But today we're going to look at one of the great rockabilly records, by someone who was one of the great unsung acts on Sun Records: [Excerpt: Billy Lee Riley and the Little Green Men, "Flying Saucers Rock and Roll"] Billy Lee Riley was someone who was always in the wrong place at the wrong time -- for example, when he got married after leaving the army, he decided to move with his new wife to Memphis, and open a restaurant. The problem was that neither of them knew Memphis particularly well, and didn't know how bad the area they were opening it in was. The restaurant was eventually closed down by the authorities after only three months, after a gunfight between two of their customers. But there was one time when he was in precisely the right place at the right time. He was an unsuccessful, down on his luck, country singer in 1955, when he was driving on Christmas morning, from his in-laws' house in Arkansas to his parents' house three miles away, and he stopped to pick up two hitch-hikers. Those two hitch-hikers were Cowboy Jack Clement and Ronald "Slim" Wallace, two musicians who were planning on setting up their own record company. Riley was so interested in their conversation that while he'd started out just expecting to drive them the three miles he was going, he ended up driving them the more than seventy miles to Memphis. Clement and Wallace invited Riley to join their label. They actually had little idea of how to get into the record business -- Clement was an ex-Marine and aspiring writer, who was also a dance instructor -- he had no experience or knowledge of dancing when he became a dance instructor, but had decided that it couldn't be that difficult. He also played pedal steel in a Western Swing band led by someone called Sleepy-Eyed John Epley. Wallace, meanwhile, was a truck driver who worked weekends as a bass player and bandleader, and Clement had joined Wallace's band as well as Epley's. They regularly commuted between Arkansas, where Wallace owned a club, and Memphis, where Clement was based, and on one of their journeys, Clement, who had been riding in the back seat, had casually suggested to Wallace that they should get into the record business. Wallace would provide the resources -- they'd use his garage as a studio, and finance it with his truck-driving money -- while Clement would do the work of actually converting the garage into a studio. But before they were finished, they'd been out drinking in Arkansas on Christmas Eve with Wallace's wife and a friend, and Clement and the friend had been arrested for drunkenness. Wallace's wife had driven back to Memphis to be home for Christmas day, while Wallace had stayed on to bail out Clement and hitch-hike back with him. They hadn't actually built their studio yet, as such, but they were convinced it was going to be great when they did, and when Riley picked them up he told them what a great country singer he was, and they all agreed that when they did get the studio built they were going to have Riley be the first artist on their new label, Fernwood Records. In the meantime, Riley was going to be the singer in their band, because he needed the ten or twelve dollars a night he could get from them. So for a few months, Riley performed with Clement and Wallace in their band, and they slowly worked out an act that would show Riley's talents off to their best advantage. By May, Clement still hadn't actually built the studio -- he'd bought a tape recorder and a mixing board from Sleepy-Eyed John Epley, but he hadn't quite got round to making Wallace's garage into a decent space for recording in. So Clement and Wallace pulled together a group of musicians, including a bass player, because Clement didn't think Wallace was good enough, Johnny Bernero, the drummer who'd played on Elvis' last Sun session, and a guitarist named Roland Janes, and rented some studio time from a local radio station. They recorded the two sides of what was intended to be the first single on Fernwood Records, "Rock With Me Baby": [Excerpt: Billy Lee RIley, "Rock With Me Baby"] So they had a tape, but they needed to get it properly mastered to release it as a single. The best place in town to do that was at Memphis Recording Services, which Sam Phillips was still keeping going even though he was now having a lot of success with Sun. Phillips listened to the track while he was mastering it, and he liked it a lot. He liked it enough, in fact, that he made an offer to Clement -- rather than Clement starting up his own label, would he sell the master to Phillips, and come and work for Sun records instead? He did, leaving Slim Wallace to run Fernwood on his own, and for the last few years that Sun was relevant, Cowboy Jack Clement was one of the most important people working for the label -- second only to Sam Phillips himself. Clement would end up producing sessions by Johnny Cash, Carl Perkins, Jerry Lee Lewis, and others. But his first session was to produce the B-side to the Billy Lee Riley record. Sam Phillips hadn't liked their intended B-side, so they went back into the studio with the same set of musicians to record a "Heartbreak Hotel" knockoff called "Trouble Bound": [Excerpt: Billy Lee Riley, "Trouble Bound"] That was much more to Sam's liking, and the result was released as Billy Lee Riley's first single. Riley and the musicians who had played on that initial record became the go-to people for Clement when he wanted musicians to back Sun's stars. Roland Janes, in particular, is someone whose name you will see on the credits for all sorts of Sun records from mid-56 onwards. Riley, too, would play on sessions -- usually on harmonica, but occasionally on guitar, bass, or piano. There's one particularly memorable moment of Riley on guitar at the end of Jerry Lee Lewis' first single, a cover version of Ray Price's "Crazy Arms". That song had been cut more as a joke than anything else, with Janes, who couldn't play bass, on bass. Right at the end of the song, Riley picked up a guitar, and hit a single wrong chord, just after everyone else had finished playing, and while their sound was dying away: [Excerpt: Jerry Lee Lewis, "Crazy Arms"] Sam Phillips loved that track, and released it as it was, with Riley's guitar chord on it. Riley, meanwhile, started gigging regularly, with a band consisting of Janes on guitar, new drummer Jimmy Van Eaton, and, at first, Jerry Lee Lewis on piano, all of whom would play regularly on any Sun sessions that needed musicians. Now, we're going to be talking about Jerry Lee Lewis in a couple of weeks, so I don't want to talk too much about him here, but you'll have noticed that we already talked about him quite a bit in the episode on "Matchbox". Jerry Lee Lewis was one of those characters who turn up everywhere, and even before he was a star, he was making a huge impression on other people's lives. So while this isn't an episode about him, you will see his effect on Riley's career. He's just someone who insists on pushing into the story before it's his turn. Jerry Lee was the piano player on Riley's first session for Sun proper. The song on that session was brought in by Roland Janes, who had a friend, Ray Scott, who had written a rock and roll song about flying saucers. Riley loved the song, but Phillips thought it needed something more -- it needed to sound like it came from outer space. They still didn't have much in the way of effects at the Sun studios -- just the reverb system Phillips had cobbled together -- but Janes had a tremolo bar on his guitar. These were a relatively new invention -- they'd only been introduced on the Fender Stratocaster a little over two years earlier, and they hadn't seen a great deal of use on records yet. Phillips got Janes to play making maximum use of the tremolo arm, and also added a ton of reverb, and this was the result: [Excerpt: Billy Lee Riley and the Little Green Men, "Flying Saucers Rock and Roll"] Greil Marcus later said of that track that it was "one of the weirdest of early rock 'n' roll records - and early rock 'n' roll records were weird!" -- and he's right. "Flying Saucers Rock & Roll" is a truly odd recording, even by the standards of Sun Records in 1957. When Phillips heard that back, he said "Man that’s it. You sound like a bunch of little green men from Mars!" -- and then immediately realised that that should be the name of Riley's backing band. So the single came out as by Billy Lee Riley and the Little Green Men, and the musicians got themselves a set of matching green suits to wear at gigs, which they bought at Lansky's on Beale Street. Those suits caused problems, though, as they were made of a material which soaked up sweat, which was a problem given how frantically active Riley's stage show was -- at one show at the Arkansas State University Riley jumped on top of the piano and started dancing -- except the piano turned out to be on wheels, and rolled off the stage. Riley had to jump up and cling on to a steel girder at the top of the stage, dangling from it by one arm, while holding the mic in the other, and gesturing frantically for people to get him down. You can imagine that with a show like that, absorbent material would be a problem, and sometimes the musicians would lie on their backs to play solos and get the audiences excited, and then find it difficult to get themselves back to their feet again, because their suits were so heavy. Riley's next single was a cover of a blues song first recorded by another Sun artist, Billy "the Kid" Emerson, in 1955. "Red Hot" had been based on a schoolyard chant: [Excerpt: Billy "the Kid" Emerson, "Red Hot"] While "Flying Saucers Rock and Roll" had been a local hit, but not a national one, Billy was confident that his version of "Red Hot" would be the record that would make him into a national star: [Excerpt: Billy Lee Riley and the Little Green Men, "Red Hot"] The song was recorded either at the same session as "Flying Saucers Rock and Roll" or at one a couple of weeks later with a different pianist -- accounts vary -- but it was put on the shelf for six months, and in that six months Riley toured promoting "Flying Saucers Rock and Roll", and also carried on playing on sessions for Sun. He played bass on "Take Me To That Place" by Jack Earls: [Excerpt: Jack Earls, "Take Me To That Place"]  Rhythm guitar on "Miracle of You" by Hannah Fay: [Excerpt: Hannah Fay, "Miracle of You"] And much more. But he was still holding out hopes for the success of "Red Hot", which Sam Phillips kept telling him was going to be his big hit. And for a while it looked like that might be the case. Dewey Phillips played the record constantly, and Alan Freed tipped it to be a big hit. But for some reason, while it was massive in Memphis, the track did nothing at all outside the area -- the Memphis musician Jim Dickinson once said that he had never actually realised that "Red Hot" hadn't been a hit until he moved to Texas and nobody there had heard it, because everyone in Memphis knew the song. Riley and his band continued recording for Sun, both recording for themselves and as backup musicians for other artists. For example Hayden Thompson's version of Little Junior Parker's "Love My Baby", another rockabilly cover of an old Sun blues track, was released shortly after "Red Hot", credited to Thompson "with Billy Lee Riley's band [and] Jerry Lee Lewis' 'pumping piano'": [Excerpt: Hayden Thompson, "Love My Baby"]  But Riley was starting to get suspicious. "Red Hot" should have been a hit, it was obvious to him. So why hadn't it been? Riley became convinced that what had happened was that Sam Phillips had decided that Riley and his band were more valuable to him as session musicians, backing Jerry Lee Lewis and whoever else came into the studio, than as stars themselves. He would later claim that he had actually seen piles of orders for "Red Hot" come in from record shops around the country, and Sam Phillips phoning the stores up and telling them he was sending them Jerry Lee Lewis records instead. He also remembered that Sam had told him to come off the road from a package tour to record an album -- and had sent Jerry Lee out on the tour in his place. He became convinced that Sam Phillips was deliberately trying to sabotage his career. He got drunk, and he got mad. He went to Sun studios, where Sam Phillips' latest girlfriend, Sally, was working, and started screaming at her, and kicked a hole in a double bass. Sally, terrified, called Sam, who told her to lock the doors, and to on no account let Riley leave the building. Sam came to the studio and talked Riley down, explaining to him calmly that there was no way he would sabotage a record on his own label -- that just wouldn't make any sense. He said "“Red Hot” ain’t got it. We’re saving you for something good.’ ” By the time Sam had finished talking, according to Riley, "I felt like I was the biggest star on Sun Records!” But that feeling didn't last, and Riley, like so many Sun artists before, decided he had a better chance at stardom elsewhere. He signed with Brunswick Records, and recorded a single with Owen Bradley, a follow-up to "Flying Saucers Rock & Roll" called "Rockin' on the Moon", which I wouldn't be at all surprised to hear had been an influence on Joe Meek: [Excerpt: Billy Lee Riley, "Rockin' on the Moon"] But that wasn't a success either, and Riley came crawling back to Sun, though he never trusted Phillips again. He carried on as a Sun artist for a while, and then started recording for other labels based around Memphis, under a variety of different names. with a variety of different bands. For example he played harmonica on "Shimmy Shimmy Walk" by the Megatons, a great instrumental knock-off of "You Don't Love Me": [Excerpt: The Megatons, "Shimmy Shimmy Walk Part 1"] Indeed, he had a part to play in the development of another classic Memphis instrumental, though he didn't play on it. Riley was recording a session under one of his pseudonyms at the Stax studio, in 1962, and he was in the control room after the session when the other musicians started jamming on a twelve-bar blues: [Excerpt: Booker T and the MGs, "Green Onions"] But we'll talk more about Booker T and the MGs in a few months' time. After failing to make it as a rock and roll star, Billy Riley decided he might as well go with what he'd been most successful at, and become a full-time session musician. He moved to LA, where he was one of the large number of people who were occasional parts of the group of session players known as the Wrecking Crew. He played harmonica, for example, on the album version of the Beach Boys' "Help Me Ronda": [Excerpt: The Beach Boys, "Help Me, Ronda"] And on Dean Martin's "Houston": [Excerpt: Dean Martin, "Houston"] After a couple of years of this, he went back to the south, and started recording again for anyone who would have him. But again, he was unlucky in sales -- and songs he recorded would tend to get recorded by other artists. For example, in 1971 he recorded a single produced by Chips Moman, the great Memphis country-soul producer and songwriter who had recently revitalised Elvis' career. That song, Tony Joe White's "I've Got a Thing About You Baby" started rising up the charts: [Excerpt: Billy Lee Riley, "I've Got A Thing About You Baby"] But then Elvis released his own version of the song, and Riley's version stalled at number ninety-three. In 1973, Riley decided to retire from the music business, and go to work in the construction industry instead. He would eventually be dragged back onto the stage in 1979, and he toured Europe after that, playing to crowds of rockabilly fans In 1992, Bob Dylan came calling. It turned out that Bob Dylan was a massive Billy Lee Riley fan, and had spent six years trying to track Riley down, even going so far as to visit Riley's old home in Tennessee to see if he could find him. Eventually he did, and he got Riley to open for him on a few shows in Arkansas and Tennessee, and in Little Rock he got Riley to come out on stage and perform "Red Hot" with him and his band: [Excerpt: Bob Dylan and Billy Lee Riley, "Red Hot"] In 2015, when Dylan was awarded the "Musicares person of the year" award, he spent most of his speech attacking anyone in the music industry who had ever said a bad word about Bob Dylan. It's one of the most extraordinarily, hilariously, petty bits of score-settling you'll ever hear, and I urge you to seek it out online if you ever start to worry that your own ego bruises too easily. But in that speech Dylan does say good things about some people.He talks for a long time about Riley, and I won't quote all of it, but I'll quote a short section: "He was a true original. He did it all: He played, he sang, he wrote. He would have been a bigger star but Jerry Lee came along. And you know what happens when someone like that comes along. You just don't stand a chance. So Billy became what is known in the industry—a condescending term—as a one-hit wonder. But sometimes, just sometimes, once in a while, a one-hit wonder can make a more powerful impact than a recording star who's got 20 or 30 hits behind him.” Dylan went on to talk about his long friendship with Riley, and to say that the reason he was proud to accept the Musicares award was that in his last years, Musicares had helped Billy Lee Riley pay his doctor's bills and keep comfortable, and that Dylan considered that a debt that couldn't be repaid. Billy Lee Riley gave his final performance in June 2009, on Beale Street in Memphis, using a walking frame for support. He died of colon cancer in August 2009, aged 75.

    Episode fifty-seven of A History of Rock Music in Five Hundred Songs looks at “Flying Saucers Rock ‘n’ Roll” by Billy Lee Riley and the Little Green Men, and at the flying saucer craze of the fifties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Silhouettes” by the Rays, and the power of subliminal messages. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I’m relying heavily on Sam Phillips: the Man Who Invented Rock and Roll by Peter Guralnick for all the episodes dealing with Phillips and Sun Records. I’ve also relied on a lot of websites for this one, including this very brief outline of Riley’s life in his own words.   There are many compilations of Riley’s music. This one, from Bear Family, is probably the most comprehensive collection of his fifties work.  The Patreon episode on “The Flying Saucer”, for backers who’ve not heard it, is at https://www.patreon.com/posts/27855307 Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   ERRATUM I mistakenly said “Jack Earl” instead of Jack Earls at one point.   Transcript   Let’s talk about flying saucers for a minute. One aspect of 1950s culture that probably requires a little discussion at this point is the obsession in many quarters with the idea of alien invasion. Of course, there were the many, many, films on the subject that filled out the double bills and serials, things like “Flying Disc Man From Mars”, “Radar Men From The Moon”, “It Came From Outer Space”, “Earth vs. the Flying Saucers”, and so on. But those films, campy as they are, reveal a real fascination with the idea that was prevalent throughout US culture at the time. While the term “flying saucer” had been coined in 1930, it really took off in June 1947 when Kenneth Arnold, a Minnesotan pilot, saw nine disc-shaped objects in the air while he was flying. Arnold’s experience has entered into legend as the canonical “first flying saucer sighting”, mostly because Arnold seems to have been, before the incident, a relatively stable person — or at least someone who gave off all the signals that were taken as signs of stability in the 1940s. Arnold seems to have just been someone who saw something odd, and wanted to find out what it was that he’d seen. But eventually two different groups of people seem to have dominated the conversation — religious fanatics who saw in Arnold’s vision a confirmation of their own idiosyncratic interpretation of the Bible, and people who believed that the things Arnold had seen came from another planet. With no other explanations forthcoming, he turned to the people who held to the extraterrestrial hypothesis as being comparatively the saner option. Over the next few years, so did a significant proportion of the American population. The same month as Kenneth Arnold saw his saucers, a nuclear test monitoring balloon crashed in Roswell, New Mexico. A farmer who found some of the debris had heard reports of Arnold’s sightings, and put two and two together and made space aliens. The Government didn’t want to admit that the balloon had been monitoring nuclear tests, and so various cover stories were put out, which in turn led to the belief in aliens becoming ever more widespread. And this tied in with the nuclear paranoia that was sweeping the nation. It was widely known, of course, that both the USA and Russia were working on space programmes — and that those space programmes were intimately tied in with the nuclear missiles they were also developing. While it was never stated specifically, it was common knowledge that the real reason for the competition between the two nations to build rockets was purely about weapons delivery, and that the civilian space programme was, in the eyes of both governments if not the people working on it, merely a way of scaring the other side with how good the rockets were, without going so far that they might accidentally instigate a nuclear conflict. When you realise this, Little Richard’s terror at the launch of Sputnik seems a little less irrational, and so does the idea that there might be aliens from outer space. So, why am I talking about flying saucers? Well, there are two reasons. The first is that, among other things, this podcast is a cultural history of the latter part of the twentieth century, and you can’t understand anything about the mid twentieth century without understanding the deeply weird paranoid ideas that would sweep the culture. The second is that it inspired a whole lot of records. One of those, “the Flying Saucer”, I’ve actually already looked at briefly in one of the Patreon bonus episodes, but is worth a mention here — it was a novelty record that was a very early example of sampling: [Excerpt: Buchanan and Goodman, “The Flying Saucer”] And there’d been “Two Little Men in a Flying Saucer” by Ella Fitzgerald: [Excerpt: Ella Fitzgerald, “Two Little Men in a Flying Saucer”] But today we’re going to look at one of the great rockabilly records, by someone who was one of the great unsung acts on Sun Records: [Excerpt: Billy Lee Riley and the Little Green Men, “Flying Saucers Rock and Roll”] Billy Lee Riley was someone who was always in the wrong place at the wrong time — for example, when he got married after leaving the army, he decided to move with his new wife to Memphis, and open a restaurant. The problem was that neither of them knew Memphis particularly well, and didn’t know how bad the area they were opening it in was. The restaurant was eventually closed down by the authorities after only three months, after a gunfight between two of their customers. But there was one time when he was in precisely the right place at the right time. He was an unsuccessful, down on his luck, country singer in 1955, when he was driving on Christmas morning, from his in-laws’ house in Arkansas to his parents’ house three miles away, and he stopped to pick up two hitch-hikers. Those two hitch-hikers were Cowboy Jack Clement and Ronald “Slim” Wallace, two musicians who were planning on setting up their own record company. Riley was so interested in their conversation that while he’d started out just expecting to drive them the three miles he was going, he ended up driving them the more than seventy miles to Memphis. Clement and Wallace invited Riley to join their label. They actually had little idea of how to get into the record business — Clement was an ex-Marine and aspiring writer, who was also a dance instructor — he had no experience or knowledge of dancing when he became a dance instructor, but had decided that it couldn’t be that difficult. He also played pedal steel in a Western Swing band led by someone called Sleepy-Eyed John Epley. Wallace, meanwhile, was a truck driver who worked weekends as a bass player and bandleader, and Clement had joined Wallace’s band as well as Epley’s. They regularly commuted between Arkansas, where Wallace owned a club, and Memphis, where Clement was based, and on one of their journeys, Clement, who had been riding in the back seat, had casually suggested to Wallace that they should get into the record business. Wallace would provide the resources — they’d use his garage as a studio, and finance it with his truck-driving money — while Clement would do the work of actually converting the garage into a studio. But before they were finished, they’d been out drinking in Arkansas on Christmas Eve with Wallace’s wife and a friend, and Clement and the friend had been arrested for drunkenness. Wallace’s wife had driven back to Memphis to be home for Christmas day, while Wallace had stayed on to bail out Clement and hitch-hike back with him. They hadn’t actually built their studio yet, as such, but they were convinced it was going to be great when they did, and when Riley picked them up he told them what a great country singer he was, and they all agreed that when they did get the studio built they were going to have Riley be the first artist on their new label, Fernwood Records. In the meantime, Riley was going to be the singer in their band, because he needed the ten or twelve dollars a night he could get from them. So for a few months, Riley performed with Clement and Wallace in their band, and they slowly worked out an act that would show Riley’s talents off to their best advantage. By May, Clement still hadn’t actually built the studio — he’d bought a tape recorder and a mixing board from Sleepy-Eyed John Epley, but he hadn’t quite got round to making Wallace’s garage into a decent space for recording in. So Clement and Wallace pulled together a group of musicians, including a bass player, because Clement didn’t think Wallace was good enough, Johnny Bernero, the drummer who’d played on Elvis’ last Sun session, and a guitarist named Roland Janes, and rented some studio time from a local radio station. They recorded the two sides of what was intended to be the first single on Fernwood Records, “Rock With Me Baby”: [Excerpt: Billy Lee RIley, “Rock With Me Baby”] So they had a tape, but they needed to get it properly mastered to release it as a single. The best place in town to do that was at Memphis Recording Services, which Sam Phillips was still keeping going even though he was now having a lot of success with Sun. Phillips listened to the track while he was mastering it, and he liked it a lot. He liked it enough, in fact, that he made an offer to Clement — rather than Clement starting up his own label, would he sell the master to Phillips, and come and work for Sun records instead? He did, leaving Slim Wallace to run Fernwood on his own, and for the last few years that Sun was relevant, Cowboy Jack Clement was one of the most important people working for the label — second only to Sam Phillips himself. Clement would end up producing sessions by Johnny Cash, Carl Perkins, Jerry Lee Lewis, and others. But his first session was to produce the B-side to the Billy Lee Riley record. Sam Phillips hadn’t liked their intended B-side, so they went back into the studio with the same set of musicians to record a “Heartbreak Hotel” knockoff called “Trouble Bound”: [Excerpt: Billy Lee Riley, “Trouble Bound”] That was much more to Sam’s liking, and the result was released as Billy Lee Riley’s first single. Riley and the musicians who had played on that initial record became the go-to people for Clement when he wanted musicians to back Sun’s stars. Roland Janes, in particular, is someone whose name you will see on the credits for all sorts of Sun records from mid-56 onwards. Riley, too, would play on sessions — usually on harmonica, but occasionally on guitar, bass, or piano. There’s one particularly memorable moment of Riley on guitar at the end of Jerry Lee Lewis’ first single, a cover version of Ray Price’s “Crazy Arms”. That song had been cut more as a joke than anything else, with Janes, who couldn’t play bass, on bass. Right at the end of the song, Riley picked up a guitar, and hit a single wrong chord, just after everyone else had finished playing, and while their sound was dying away: [Excerpt: Jerry Lee Lewis, “Crazy Arms”] Sam Phillips loved that track, and released it as it was, with Riley’s guitar chord on it. Riley, meanwhile, started gigging regularly, with a band consisting of Janes on guitar, new drummer Jimmy Van Eaton, and, at first, Jerry Lee Lewis on piano, all of whom would play regularly on any Sun sessions that needed musicians. Now, we’re going to be talking about Jerry Lee Lewis in a couple of weeks, so I don’t want to talk too much about him here, but you’ll have noticed that we already talked about him quite a bit in the episode on “Matchbox”. Jerry Lee Lewis was one of those characters who turn up everywhere, and even before he was a star, he was making a huge impression on other people’s lives. So while this isn’t an episode about him, you will see his effect on Riley’s career. He’s just someone who insists on pushing into the story before it’s his turn. Jerry Lee was the piano player on Riley’s first session for Sun proper. The song on that session was brought in by Roland Janes, who had a friend, Ray Scott, who had written a rock and roll song about flying saucers. Riley loved the song, but Phillips thought it needed something more — it needed to sound like it came from outer space. They still didn’t have much in the way of effects at the Sun studios — just the reverb system Phillips had cobbled together — but Janes had a tremolo bar on his guitar. These were a relatively new invention — they’d only been introduced on the Fender Stratocaster a little over two years earlier, and they hadn’t seen a great deal of use on records yet. Phillips got Janes to play making maximum use of the tremolo arm, and also added a ton of reverb, and this was the result: [Excerpt: Billy Lee Riley and the Little Green Men, “Flying Saucers Rock and Roll”] Greil Marcus later said of that track that it was “one of the weirdest of early rock ‘n’ roll records – and early rock ‘n’ roll records were weird!” — and he’s right. “Flying Saucers Rock & Roll” is a truly odd recording, even by the standards of Sun Records in 1957. When Phillips heard that back, he said “Man that’s it. You sound like a bunch of little green men from Mars!” — and then immediately realised that that should be the name of Riley’s backing band. So the single came out as by Billy Lee Riley and the Little Green Men, and the musicians got themselves a set of matching green suits to wear at gigs, which they bought at Lansky’s on Beale Street. Those suits caused problems, though, as they were made of a material which soaked up sweat, which was a problem given how frantically active Riley’s stage show was — at one show at the Arkansas State University Riley jumped on top of the piano and started dancing — except the piano turned out to be on wheels, and rolled off the stage. Riley had to jump up and cling on to a steel girder at the top of the stage, dangling from it by one arm, while holding the mic in the other, and gesturing frantically for people to get him down. You can imagine that with a show like that, absorbent material would be a problem, and sometimes the musicians would lie on their backs to play solos and get the audiences excited, and then find it difficult to get themselves back to their feet again, because their suits were so heavy. Riley’s next single was a cover of a blues song first recorded by another Sun artist, Billy “the Kid” Emerson, in 1955. “Red Hot” had been based on a schoolyard chant: [Excerpt: Billy “the Kid” Emerson, “Red Hot”] While “Flying Saucers Rock and Roll” had been a local hit, but not a national one, Billy was confident that his version of “Red Hot” would be the record that would make him into a national star: [Excerpt: Billy Lee Riley and the Little Green Men, “Red Hot”] The song was recorded either at the same session as “Flying Saucers Rock and Roll” or at one a couple of weeks later with a different pianist — accounts vary — but it was put on the shelf for six months, and in that six months Riley toured promoting “Flying Saucers Rock and Roll”, and also carried on playing on sessions for Sun. He played bass on “Take Me To That Place” by Jack Earls: [Excerpt: Jack Earls, “Take Me To That Place”]  Rhythm guitar on “Miracle of You” by Hannah Fay: [Excerpt: Hannah Fay, “Miracle of You”] And much more. But he was still holding out hopes for the success of “Red Hot”, which Sam Phillips kept telling him was going to be his big hit. And for a while it looked like that might be the case. Dewey Phillips played the record constantly, and Alan Freed tipped it to be a big hit. But for some reason, while it was massive in Memphis, the track did nothing at all outside the area — the Memphis musician Jim Dickinson once said that he had never actually realised that “Red Hot” hadn’t been a hit until he moved to Texas and nobody there had heard it, because everyone in Memphis knew the song. Riley and his band continued recording for Sun, both recording for themselves and as backup musicians for other artists. For example Hayden Thompson’s version of Little Junior Parker’s “Love My Baby”, another rockabilly cover of an old Sun blues track, was released shortly after “Red Hot”, credited to Thompson “with Billy Lee Riley’s band [and] Jerry Lee Lewis’ ‘pumping piano'”: [Excerpt: Hayden Thompson, “Love My Baby”]  But Riley was starting to get suspicious. “Red Hot” should have been a hit, it was obvious to him. So why hadn’t it been? Riley became convinced that what had happened was that Sam Phillips had decided that Riley and his band were more valuable to him as session musicians, backing Jerry Lee Lewis and whoever else came into the studio, than as stars themselves. He would later claim that he had actually seen piles of orders for “Red Hot” come in from record shops around the country, and Sam Phillips phoning the stores up and telling them he was sending them Jerry Lee Lewis records instead. He also remembered that Sam had told him to come off the road from a package tour to record an album — and had sent Jerry Lee out on the tour in his place. He became convinced that Sam Phillips was deliberately trying to sabotage his career. He got drunk, and he got mad. He went to Sun studios, where Sam Phillips’ latest girlfriend, Sally, was working, and started screaming at her, and kicked a hole in a double bass. Sally, terrified, called Sam, who told her to lock the doors, and to on no account let Riley leave the building. Sam came to the studio and talked Riley down, explaining to him calmly that there was no way he would sabotage a record on his own label — that just wouldn’t make any sense. He said ““Red Hot” ain’t got it. We’re saving you for something good.’ ” By the time Sam had finished talking, according to Riley, “I felt like I was the biggest star on Sun Records!” But that feeling didn’t last, and Riley, like so many Sun artists before, decided he had a better chance at stardom elsewhere. He signed with Brunswick Records, and recorded a single with Owen Bradley, a follow-up to “Flying Saucers Rock & Roll” called “Rockin’ on the Moon”, which I wouldn’t be at all surprised to hear had been an influence on Joe Meek: [Excerpt: Billy Lee Riley, “Rockin’ on the Moon”] But that wasn’t a success either, and Riley came crawling back to Sun, though he never trusted Phillips again. He carried on as a Sun artist for a while, and then started recording for other labels based around Memphis, under a variety of different names. with a variety of different bands. For example he played harmonica on “Shimmy Shimmy Walk” by the Megatons, a great instrumental knock-off of “You Don’t Love Me”: [Excerpt: The Megatons, “Shimmy Shimmy Walk Part 1”] Indeed, he had a part to play in the development of another classic Memphis instrumental, though he didn’t play on it. Riley was recording a session under one of his pseudonyms at the Stax studio, in 1962, and he was in the control room after the session when the other musicians started jamming on a twelve-bar blues: [Excerpt: Booker T and the MGs, “Green Onions”] But we’ll talk more about Booker T and the MGs in a few months’ time. After failing to make it as a rock and roll star, Billy Riley decided he might as well go with what he’d been most successful at, and become a full-time session musician. He moved to LA, where he was one of the large number of people who were occasional parts of the group of session players known as the Wrecking Crew. He played harmonica, for example, on the album version of the Beach Boys’ “Help Me Ronda”: [Excerpt: The Beach Boys, “Help Me, Ronda”] And on Dean Martin’s “Houston”: [Excerpt: Dean Martin, “Houston”] After a couple of years of this, he went back to the south, and started recording again for anyone who would have him. But again, he was unlucky in sales — and songs he recorded would tend to get recorded by other artists. For example, in 1971 he recorded a single produced by Chips Moman, the great Memphis country-soul producer and songwriter who had recently revitalised Elvis’ career. That song, Tony Joe White’s “I’ve Got a Thing About You Baby” started rising up the charts: [Excerpt: Billy Lee Riley, “I’ve Got A Thing About You Baby”] But then Elvis released his own version of the song, and Riley’s version stalled at number ninety-three. In 1973, Riley decided to retire from the music business, and go to work in the construction industry instead. He would eventually be dragged back onto the stage in 1979, and he toured Europe after that, playing to crowds of rockabilly fans In 1992, Bob Dylan came calling. It turned out that Bob Dylan was a massive Billy Lee Riley fan, and had spent six years trying to track Riley down, even going so far as to visit Riley’s old home in Tennessee to see if he could find him. Eventually he did, and he got Riley to open for him on a few shows in Arkansas and Tennessee, and in Little Rock he got Riley to come out on stage and perform “Red Hot” with him and his band: [Excerpt: Bob Dylan and Billy Lee Riley, “Red Hot”] In 2015, when Dylan was awarded the “Musicares person of the year” award, he spent most of his speech attacking anyone in the music industry who had ever said a bad word about Bob Dylan. It’s one of the most extraordinarily, hilariously, petty bits of score-settling you’ll ever hear, and I urge you to seek it out online if you ever start to worry that your own ego bruises too easily. But in that speech Dylan does say good things about some people.He talks for a long time about Riley, and I won’t quote all of it, but I’ll quote a short section: “He was a true original. He did it all: He played, he sang, he wrote. He would have been a bigger star but Jerry Lee came along. And you know what happens when someone like that comes along. You just don’t stand a chance. So Billy became what is known in the industry—a condescending term—as a one-hit wonder. But sometimes, just sometimes, once in a while, a one-hit wonder can make a more powerful impact than a recording star who’s got 20 or 30 hits behind him.” Dylan went on to talk about his long friendship with Riley, and to say that the reason he was proud to accept the Musicares award was that in his last years, Musicares had helped Billy Lee Riley pay his doctor’s bills and keep comfortable, and that Dylan considered that a debt that couldn’t be repaid. Billy Lee Riley gave his final performance in June 2009, on Beale Street in Memphis, using a walking frame for support. He died of colon cancer in August 2009, aged 75.

  When is a get-together not a get-together? When it’s a reunion! Whether the Bear Family is getting together or reuniting, we’re meeting some new relatives in “The Berenstain Bears’ Family Get Together” and “The Berenstain Bears’ Family Reunion!” https://ia601502.us.archive.org/21/items/dibcep221/DIBC-EP221.mp3

  When is a get-together not a get-together? When it’s a reunion! Whether the Bear Family is getting together or reuniting, we’re meeting some new relatives in “The Berenstain Bears’ Family Get Together” and “The Berenstain Bears’ Family Reunion!” https://ia601502.us.archive.org/21/items/dibcep221/DIBC-EP221.mp3

This week, we’re going back to basics with “Big Bear, Small Bear” a book that, once again, completely lacks any mention of our Bear Family. But, what does that say about us? About spaghetti? About eating spaghetti on the beach? Anything? Hello? https://ia601500.us.archive.org/22/items/dibcep214/DIBC-EP214.mp3

This week, we’re going back to basics with “Big Bear, Small Bear” a book that, once again, completely lacks any mention of our Bear Family. But, what does that say about us? About spaghetti? About eating spaghetti on the beach? Anything? Hello? https://ia601500.us.archive.org/22/items/dibcep214/DIBC-EP214.mp3

Okay, how’s this fora weird throwback in style? “The Berenstain Bears In The House Of Mirrors” doesn’t even have any members of the Bear Family! It has two fill-in characters and a WHOLE LOT of mirrors! https://ia801401.us.archive.org/35/items/dibcep213/DIBC-EP213.mp3

Okay, how’s this fora weird throwback in style? “The Berenstain Bears In The House Of Mirrors” doesn’t even have any members of the Bear Family! It has two fill-in characters and a WHOLE LOT of mirrors! https://ia801401.us.archive.org/35/items/dibcep213/DIBC-EP213.mp3

Back from the Jersey Shore....it was a late night but I had a blast visiting nieces, nephews, sisters and some people I've never met.*Opening salvo- The usual suspects-Dub Dickerson - Boppin' in the dark [Bear Family 2000] CD - Boppin' In The Dark**Bed - Traffic - Somethings got a hold of my toeSet 1: Advice-The Great Society - Free advice [Northbeach Records 1966] 45 rpm-Kaleidoscope - I found out [Epic 1967] LP - A Beacon From Mars-Larry Williams & Johnny Guitar Watson w/ Kaleidoscope - Nobody [Okeh 1967] 45 rpm-Johnny Otis Orchestra - Mambo boogie [Savoy 1951] 78 rpm**Bed: see aboveSet 2: Saving Grace-Jefferson Airplane - Let me in [RCA 1966] 45 rpm-Evan Johns & the H-Bombs - Your saving grace [Alternative Tentacles 1986] LP - Runnin' Through the Night**The Onion Radio News - Sexy Aliens-Big Maybelle - 96 tears [Rojac 1966] 45 rpm**Ryan Adams Rant to Jim DeRogatis- Ryan Adams - Aching for more [Pax Americana 2014] 45 rpm**Bed: see aboveSet 3: Trains & Killers - Neil Young & Crazy Horse - Riding on the Double E [Reprise 2003] LP - Greendale- Neil Young & Crazy Horse - Psychedelic pill [Reprise 2012] LP - Psychedelic Pill-The Church - Cortez the killer [Thirsty Ear 1999] LP - A Box of Birds***AND OUT!

This week, I’m taking you to a place from my childhood that I DREAD! The amusement park! Learn about why I hate amusement parks, a brief history of amusement parks and, oh right, what happens when the Bear Family visits an amusement park in “The Berenstain Bears Visit Fun Park!” https://ia801507.us.archive.org/0/items/dibcep204/DIBC-EP204.mp3

This week, I’m taking you to a place from my childhood that I DREAD! The amusement park! Learn about why I hate amusement parks, a brief history of amusement parks and, oh right, what happens when the Bear Family visits an amusement park in “The Berenstain Bears Visit Fun Park!” https://ia801507.us.archive.org/0/items/dibcep204/DIBC-EP204.mp3

Man, those bears just won’t stop cleaning house! In this, our THIRD book about the Bear Family either getting rid of junk or helping people out, we finally see the culmination of all these ideas. It’s “The Berenstain Bears Think of Those In Need!” and to walk us through the bears’ actions and attitudes, I...Continue reading →

Man, those bears just won’t stop cleaning house! In this, our THIRD book about the Bear Family either getting rid of junk or helping people out, we finally see the culmination of all these ideas. It’s “The Berenstain Bears Think of Those In Need!” and to walk us through the bears’ actions and attitudes, I … Continue reading "Episode 185 – Think of Those In Need"

Hey folks, Random Old Records is back for its 11th year! EPISODE #72 is nearly a full hour of that classic rock n' roll beat presented in a wide variety of styles and eras, from the 50s to just a few weeks ago. That's a convoluted and verbose way to say: the one's got some serious JAMS!Kicking off with "Mystery Action", the last released tune from the legendary Rezillos, ROR #72 offers up power-pop-punk tracks from Tweens, Terry and Louie, and Midnite Snaxxx, loud indie jangle from Salad Boys, The Driscolls, For Against, and Dark Blue, vintage rockin' country from Porter Wagoner and the Farmer Boys, and almost a dozen more hitters from all points in between.Don't forget to SUBSCRIBE to Random Old Records via iTunes, Google Play, or RSS. If you like the show, please rate it and write a review! More classic episodes from the past ten years are being added to the feed as well, so check those out as well. You can also go the traditional route and stream or download the new episode below. Watch this space next month for the another episode of Random Old Records. As always, thanks for listening!Random Old Records Podcast #72Released 02/10/19DOWNLOAD HERE (Right-Click, "Save As")1. The Rezillos - "Mystery Action"(Flying Saucer Attack: The Complete Recordings 1977-1979, Cherry Red 2018)2. Midnite Snaxxx - "Mysterex"(Chew On This, Space Taker Sounds 2017)3. Tweens - "McMicken"(Tweens, Frenchkiss 2014)4. Terry and Louie - "It's All Mine"(A Thousand Guitars, Tuff Break 2018)5. Steve Adamyk Band - "Carry On"(Graceland, Dirtnap 2016)6. Salad Boys - "Psych Slasher"(This Is Glue, Trouble In Mind 2018)--Forest Fair Mall: The Beginning!7. The Driscolls - "Doctor Good And His Incredible Life Saving Soap"(The Driscolls, Tea Time 1989)8. Jack Of Heart - "Pony Grap"(Jack Of Heart, Born Bad 2009)9. Mountain Movers - "Vision Television"(Mountain Movers, Trouble In Mind 2017)10. Sudden Death Of Stars - "Pony Tails"(All Unrevealed Parts Of The Unknown, Ample Play 2014)11. Night School - "City Kiss"(Blush, Graveface 2016)12. Garcia Peoples - "Show Your Troubles Out"(Cosmic Cash, Beyond Beyond Is Beyond 2018)--Forest Fair Mall: The Middle!13. For Against – "Sabres"(December, Independent Project 1988)14. Novella - "Phases"(Land, Sinderlyn 2017)15. Dark Blue - "Challenge Of Death"(Victory Is Rated, 12XU 2019)16. Cool Sounds - "Roses"(Cactus Country, Osborne Again 2018)--Forest Fair Mall: The End?17. Porter Wagoner - "King Of The Cannon County Hills"(The Carroll County Accident, RCA 1969)18. The Farmer Boys - "Flash, Crash And Thunder"(The Other Side Of Bakersfield, Vol. 1, Bear Family 2014)19. The J and B - "Wow Wow Wow"(My First Day Without You: New Rubble Vol. 1, Past and Present 2005)20. Tom Parrott - "Groovy and Linda"(Mystic Males, Pet 2004)21. Harvey - Anyway You Want"(Mad Mike's Monsters Vol. 2, Norton 2008)

Hey folks, welcome to the last Random Old Records podcast of 2018! EPISODE #71 jumps wildly from genre to genre, equally divided between music for dancing and dreaming.Colemine Records out of Loveland, Ohio has been modestly releasing the best vintage-sounding soul music all year long. The beginning of this episode highlights tracks by Ben Pirani and Wesley Bright and the Honeytones along with some rare '60s and '70s soul stompers. It moves on to more classic sounds from recent compilations, including garage rock from The Collectors and sunshine pop from The Carnival Connection, then back to the present day with jangle from The Weather Station and The Stroppies, bionic synth grooves from Vive La Void and Klaus Johann Grobe, plus a whole lot more!Don't forget to SUBSCRIBE to Random Old Records via iTunes, Google Play, or RSS. If you like the show, please rate it and write a review! More classic episodes from the past ten years are being added to the feed as well, so check those out as well. You can also go the traditional route and stream or download the new episode below. Watch this space in 2019 for the next episode of Random Old Records. As always, thanks for listening!Random Old Records Podcast #71Released 12/27/18DOWNLOAD HERE (Right-Click, "Save As")1. Loleatta Holloway - "Only A Fool"(Southern Groove, BGP 2018)2. Ben Pirani - "Not One More Tear"(How Do I Talk To My Brother, Colemine 2018)3. The Apollas - "Pretty Red Balloons"(Loma: A Soul Music Love Affair Vol. 1, Future Days 2016)4. Wesley Bright And The Honeytones - "Happiness"(Happiness 7", Colemine 2018)5. Barbara Mason - "You Better Stop It"(Nothing But A House Party, Kent 2017)--Return of Jack Deth!6. Vickie And The Van Dykes - "I Wanna Be A Winner"(Basement Beehive, Numero Group 2018)7. The Collectors - "Make It Easy"(Transparent Days: West Coast Nuggets, Rhino 2017)8. The Carnival Connection - "Poster Man"(Book A Trip, Now Sounds 2010)9. Buck Owens - "Who's Gonna Mow Your Grass"(Truckers, Kickers, Cowboy Angels Vol.2, Bear Family 2014)10. The Earl Scruggs Revue - "If I'd Only Come And Gone"(The Earl Scruggs Revue, Columbia 1973)--Frankenstein's Castle of Freaks!11. The Popguns - "Waiting For The Winter"(Eugenie, Midnight Music 1990)12. The Stroppies - "Gravity Is Stern"(The Stroppies, Tough Love 2017)13. The Weather Station – "Kept It All To Myself"(The Weather Station, Paradise Of Bachelors 2017)14. The Fresh & Onlys - "Walking Blues"(Wolf Lie Down, Sinderlyn 2017)--Dollman!15. 79.5 - "Terrorize My Heart"(Predictions, Big Crown 2018)16. Klaus Johann Grobe - "Der Koenig"(Du Bist So Symmetrisch , Trouble In Mind 2018)17. Vive La Void - "Death Money"(Vive La Void, Sacred Bones 2018)18. Hilary Woods - "Take Him In"(Colt, Sacred Bones 2018)

Avsnitt 4 - Björn Landén Mr Bear Family's grundare Björn Landén berättar historian om hur Sveriges första skäggvårdsmärke kom till. En student med 10 000kr på fickan som ville tjäna lite extra pengar under studietiderna, till Sveriges största skäggvårdsmärke och barbershop-ägare. Vi får bland annat veta vilka motgångar Björn mötte på vägen, hur många recept som gjordes innan man satte de första receptet på den första produkten som gick till försäljning. Musik & Editing: Mikael Moberg

The Bear Family had a skunk for a neighbor. In “Pet Show” a skunk has been surgically altered and turned into a pet. Bear Country is horrifying. https://ia801509.us.archive.org/17/items/DIBCEP97/DIBC-EP97.mp3

https://ia601504.us.archive.org/29/items/DIBCEP90/DIBC-EP90.mp3 Kites? Who needs ’em?! Well, the Bears do! They also need God. Or, something. Join me as I try to piece together the Bear Family’s weird kite-based theology.

Do you own a pet? I know I don’t! So, I’m in no way qualified to talk about them. Fortunately, Abby Hartman of “It’s Training Cats and Dogs” is here to fill me in on pet ownership, pet responsibility and whether or not the Bear Family is ready to take the plunge! I’m guessing . … Continue reading "Episode 76 – Trouble With Pets!"

How did the Bear Family get their treehouse in the first place? Ever wonder that? No? Well, you’re getting a canon-defying explanation in “The Berenstain Bears’ Moving Day!” When is a cave not a cave? Where did the rabbits in clothes go? And, what of those sconces?! All this, my kid, and MORE! As usual, … Continue reading "Episode 23 – The Berenstain Bears’ Moving Day"

Back again with episode 153. This week we went a bit long with almost two hours of the good stuff from The Meteors, Krewmen, As Diabatz, Alley Dukes, Ross Kleiner & The Thrill, Rip Carson, Deadbolt and more. This week we also added Demented Scumcats "Splatter Baby" to The List. Git It. The Meteors | Madman Roll | Madman Roll(Sonovabitch Records)1991 The Termites | Kicked In The Teeth | FTW(Crazy Love Records)2008 The Moonshine Stalkers | Splatter House | Gypsy Curse(Diablo Records)2014 Krewmen | Plague Of The Dead | What's Wrong(Lost Moment Records)1988 Stressor | Burn Out! | Wolfman(Crazy Love Records)2008 As Diabatz | Riding Through The Devil's Hill | Necrolove(Drunkabilly Records)2009 The Howling Wolfmen | Asylum Rock | Billy The Kid(Razmataz Records)2011 Frantic Flintstones | Speed Kills | Speed Kills(Crazy Love Records)1998 Blue Demon | Shot To Ruin | Right Out Of Grace(Mimashima Records)2006 Sasquatch And The Sick-A-Billys | Storming the Gates | Hellbound(Self Release)2007 Demented Scumcats | Splatter Baby | Blue Viper(Crazy Love Records)2005 Demented Scumcats | Splatter Baby | White Stocking Tops(Crazy Love Records)2005 Demented Scumcats | Splatter Baby | Pitchfork Blues(Crazy Love Records)2005 Benny Barnes | Ultra Rare Rockabilly's Volume 2 | You Gotta Pay(Chief)1992 Tommy Scott & His Ramblers | That'll Flat Git It Volume 26 | Jumpin' From 6 To 6(Bear Family)2011 Alley Dukes | Northern Rednecks | No More Hot Dogs(Flying Saucer Records)2006 Mojo Nixon And Skid Roper | Bo-Day-Shus!!! | The Story Of One Chord(Enigma Records)1987 Demented Scumcats | Splatter Baby | Hills On Fire(Crazy Love Records)2005 Skitzo | Love 'N' Hate | The Devil's Game(Diablo Records)2013 Ross Kleiner & The Thrill | You Don't Move Me | You Don't Move Me(Self Release)2013 The Phantom | Born Bad Volume 2 | Love Me(Born Bad)1991 Link Wray | Rumble! (The Best Of)Ain't That Lovin' You Babe(Rhino Records)1993 Bottlenose Koffins | Gayzilla! | Kristy Yamaguchi(Self Release)2013 Hexxers | Freaks With The Savage Beat | I Can Beat Your Drum(Golly Gee)2005 Rockin' Ryan & The Real Goners | Caged Heat | When's Daddy Gettin' Paid(Golly Gee)2003 Rip Carson | My Simple Life | The Hate Inside Of Me(Golly Gee)2005 The Farrell Bros | Curbstomp Boogie | My Little Sister's Gotta Motorbike(Raucous)2003 Deadbolt | Tijuana Hit Squad | Goin' To Witchata(Headhunter)1996 Deadbolt | Shrunken Head | Blue Light(Headhunter)1994

Hottest new sounds from labels such as Bear Family, Rollin, Sheik and more

De Niro! Streep! Smaug! The Gods clash over The King of Comedy, August: Osage County and The Hobbit. Digigods Podcast, 04/08/14 (MP3) -- 29.6 MB right click to save Subscribe to the Digigods Podcast In this episode, the Gods discuss: The Americanization of Emily (Blu-ray) The Amityville Horror Trilogy (Blu-ray) August: Osage County (Blu-ray/DVD) The Bamboo Saucer (Blu-ray) Bang! Bang! You're Dead! (Blu-ray) The Bear Family and Me (DVD) Best Night Ever (Blu-ray) The Big House Triple Feature (DVD-R) The Bride Wore Red (Joan Crawford) (DVD-R) Cavemen (Blu-ray) Cocaine Cowboys Reloaded (Blu-ray) Cry Danger (Blu-ray) The Duellists (Blu-ray) The Eagle Has Landed (Blu-ray/DVD) Earth Flight (Blu-ray) Extreme Bears (DVD) The Freshman (Blu-ray/DVD) The Great Beauty (Blu-ray/DVD) Grudge Match (Blu-ray/DVD) The Hobbit: The Desolation of Smaug (Blu-ray/DVD) The Hobbit: The Desolation of Smaug (Blu-ray 3D/DVD) Holliston: Season 2 (Blu-ray) The Jesus Film (Blu-ray) The King of Comedy 30th Anniversary Blu-ray (Blu-ray) The Last of Mrs. Cheyney (Joan Crawford) (DVD-R) Let the Fire Burn (DVD) Lizzie Borden Took an Ax (DVD) Lost Islands (DVD) Mayberry R.F.D.: The Complete First Season (DVD) No Holds Barred (Blu-ray) Norma Rae 35th Anniversary (Blu-ray) Nurse 3D (Blu-ray 3D) Paranormal Activity: The Marked Ones (Blu-ray/DVD) Persona (Blu-ray/DVD) The Shadow - Collector's Edition (Blu-ray) Snake and Mongoo$e (DVD) Tank Girl (Blu-ray/DVD) Tim Holt Western Classics Volume 4 (DVD-R) Todd Oliver: Funny Dog (DVD) An Unreal Dream (DVD) When Jews Were Funny (DVD) Winged Planet (DVD) Young at Heart (Blu-ray) Please also visit CineGods.com. 

[Radio Goethe] Magazine - Bear Family Records - 06/05-2008 - www.radiogoethe.org - Arndt Peltner

[Radio Goethe] Magazine - Bear Family Records - 06/05-2008 - www.radiogoethe.org - Arndt Peltner