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Crank it up, metal maniacs! CHRIS AKIN PRESENTS... brings you songwriting legend Russ Ballard, tearing it up about his latest drop, NEW SONGS FROM THE WAREHOUSE AND THE HITS REIMAGINED. Chris and Russ riff on new tunes, his insane history, and how anthems like "New York Groove" and "Since You've Been Gone" came to life. Why's he never met Frida? Why'd he pick songwriting over the stage? Touring war stories? Hell yeah, it's all here. Plug in and bang your head to this one!BUY THE LATEST FROM RUSS BALLARD HERE: https://amzn.to/4hIUXipNOTE: Everything said here, and on every episode of all of our shows, are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.Get a free Rumble Account so you can comment! https://rumble.com/register/classicmetalshow/Get commercial free versions of our episodes, advance releases and exclusive content by subscribing to Rumble Premium! https://rumble.com/premiumHashtags to dominate the pit: #RussBallardPodcast #MetalMusic2025 #SongwritingStories #RockLegends #HeavyMetalTalk
A one hit wonder with a surprising number of hits, and an artist that managed to always be herself when the whole entertainment industry expected otherwise. Your Love, originally by The Outfield, covered by Kelly Clarkson. Outro music is Since You've Been Gone, also by The Outfield. Yes, you read that right, and you'll just have to listen to find out.
Russ Ballard is back on VRP Rocks! In this exclusive interview, the legendary singer, songwriter, and musician talks to Paul about his brand new double album Songs from the Warehouse: The Hits Rewired. Russ opens up about the creative process behind 13 brand-new tracks written during lockdown, including the powerful and emotional “Courageous,” and shares insight into how he reimagined 13 of his biggest hits – from “Since You've Been Gone” and “I Surrender” to “New York Groove” and “Voices.” Hear never-before-shared stories about working on songs that became hits for the likes of Rainbow, KISS, Hot Chocolate, Uriah Heep, and more. Plus, the fascinating origins of “Voices” and how it ended up on Miami Vice, the story behind Ace Frehley's hit version of “New York Groove,” and what it's like for Russ to revisit the songs that made him a rock legend. If you're a fan of classic rock and great songwriting, this is one you don't want to miss.
Russ Ballard is back on VRP Rocks! In this exclusive interview, the legendary singer, songwriter, and musician talks to Paul about his brand new double album Songs from the Warehouse: The Hits Rewired. Russ opens up about the creative process behind 13 brand-new tracks written during lockdown, including the powerful and emotional “Courageous,” and shares insight into how he reimagined 13 of his biggest hits – from “Since You've Been Gone” and “I Surrender” to “New York Groove” and “Voices.” Hear never-before-shared stories about the songs that became huge hits for Rainbow, KISS, Hot Chocolate, Uriah Heep, and more. Plus, the fascinating origins of “Voices” and how it ended up on Miami Vice, the story behind Ace Frehley's hit version of “New York Groove,” and what it's like for Russ to revisit the songs that made him a rock legend. If you're a fan of classic rock and great songwriting, this is one you don't want to miss.
Sintonía: "Intro" - Henrik Schwarz"Bird´s Lament" - Moondog; "Woman Of The World" (Long Instrumental Version) - Double; "Claire" - ¡O; "Since You´ve Been Gone" - James Brown; "Jon" (Live Version) - Henrik Schwarz; "Let It Out" - Jae Mason; "Anthracite" - Cymande; "Giya Kasiamore" - Amampondo; "Walk A Mile In My Shoes" (Henrik Schwarz Remix) - Coldcut; "The Core" - Robert Hood; "Chant Avec Cithare" [Track 1] - Artist Unknown; "Summun Bukmun Unyun" - Pharaoah Sanders; "You Can Be A Star" - Luther Davis Group; "Get Around To It" - Arthur Russell; "Wake Up Brothers" - Doug Hammond; "You´re The Man" - Marvin Gaye; "Outro" - Henrik SchwarzTodas las músicas extraídas de la recopilación/sesión (1xCD) de Henrik Schwarz para la serie de sesiones "DJ-Kicks" (!K7 Records, 2006) Escuchar audio
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This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology
This podcast describes a short history of a man who did something we've lost in America. That man was James Baldwin who insisted on telling the truth. He confronted the harsh realities of racism, believing that exposing its ugliness was necessary for progress. He rejected simplistic solutions, arguing that racism was deeply rooted in American consciousness and imagination, beyond just political and economic inequalities. Instead, Baldwin called for a fundamental transformation of American society and identity. He critiqued white America, urging white Americans to confront their own behavior and complicity in racist systems. Controversially, Baldwin advocated for Black Americans to approach white countrymen with love, while still insisting on unconditional freedom, seeing this as necessary for true transformation. He ultimately wanted to build a nation that moved beyond racial categorization, focusing instead on individual humanity. Baldwin viewed racism as stemming from a deeper spiritual problem in America, where individuals and the nation lacked a true sense of identity. While he did not offer simple solutions to racism, Baldwin's penetrating analysis and powerful writing exposed the complexities of racism in our country, challenged both white and Black Americans to confront difficult truths, and provided a framework for understanding racism beyond just political reforms. His work continues to influence discussions on race in America today, aiming not to ameliorate racism in a superficial sense, but to push for a profound reckoning with and transformation of American society and identity in relation to race. Tell Me How Long the Train's Been Gone is a powerful novel that explores the complexities of race, sexuality, and identity in America through the life of its protagonist, Leo Proud/hammer. As the story begins, Leo, a successful African-American actor, suffers from a heart attack. As he recovers he reflects on his life and relationships. It is also of interest to note how James Baldwin's novel relates to Dr. Matin Luther King Jr.'s non-fiction book, Where Do We Go From Here: Chaos or Community? Both books are discussed in terms of the major contributions they made to racism in America as well as how they illustrate psychoanalytic mechanism of defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies
We speak with author and psychotherapist Sagit Schwartz about her new thriller book "Since She's Been Gone" and had a great conversation that also included topics such as: eating disorders, mental health, book trigger warnings and disclaimers, grief, and even go off topic a bit about the romance genre.Find Since She's Been Gone anywhere you get your books or on the Zon here: https://amzn.to/483gFuiFind Sagit here: https://sagitschwartz.com, https://www.instagram.com/sagitschwartz/Advocacy. Investigation. Education. Storytelling.Case Sources https://pastebin.com/u/thesirenspodcast/1/q13ivhbQ Southern Noir Book Club Authors thesirenspodcast.com/southernnoir See us in the news https://www.thesirenspodcast.com/media Hosts and Expert Guests thesirenspodcast.com/squadgoals If you like our work, here are some ways to support us:Rate, review, and share our podcast!Find us on Social Media https://my.link.gallery/thesirenspodcast Merch http://tee.pub/lic/SirensNetwork Get Sins of the South (Our True Crime Book) https://books2read.com/SinsoftheSouth Buy us a coffee www.buymeacoffee.com/TheSirensPod Our Amazon Store https://bit.ly/SirensNetworkAmazonStore Newsletter https://mailchi.mp/d9964b81bab0/thesirenspodcast This podcast was produced by:Www.facebook.com/FinalGirlStudio https://bit.ly/TheSirensNetwork A mountain of Movies and shows awaits on Paramount±. Try it free on us! https://paramountplus.qflm.net/c/3437665/2089315/3065
This week, Halley Sutton and I dive into an NYU study that showed how reading raises empathy, and share books that have expanded our empathy as well.Books We Talked AboutDear America SeriesHurt for MeDear DickheadDaisy Jones and the SixThe Force of Such BeautyThe PushLittle DeathsMissing White WomanThe ReformatoryDid You Hear About Kitty Karr?Say Hello to My Little FriendThe Lion Women of TehranStar GirlSince She's Been Gone
Our friend Kelly Phillips is back to discuss barber shop, acapella and violent acts. Additionally we learn why she choose Since You've Been Gone as the song she animated for the Illustrated Al book. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this week's episode of The Balcony Show, multi award winning Eden James is back to talk about his latest single “Robots” and more! Our dude of all things awesome Madcat has the single “Rockstar” from ReverbNation selectee Lady Anemoia, Bo has another great tip on Indie Radar, Donna is catching us up with the new single “Since You've Been Gone” from Judd Harris, and Mike is sharing a wild alligator story in this week's “Naturally, Not The News”! All this and more! Other music from Derek Adams and Whole Damn Mess #catchingrisingstars #thebalconyshowrocks #edenjames #indiemusicsupport #radioshow #LikeFollowShare See less Hosted on Acast. See acast.com/privacy for more information.
Music Monday! Be sure to catch up on last week's interview and stay tuned for more upcoming! #LOUDRADIOSocial Media: @loudradiopodcast @sheedfarraMusic By:A.C. the Ruler x Saint Miguel- Night SongA1Freshh- BackboneCardiac Da Pulse- CelebrationJayare Simelton x TayDaGreat- Say YesQuierra Imani- Deep (Do You)SOTDman- Like Da NoliaToneDaMan x JuPreach- Purple Flag GangCarlito Black- Since You've Been Gone
This Time Around, Melissa and Kate are discussing Everwood #314 Since You've Been Gone. Andy convinces Amanda they should tell Delia and Charlie about spending more time together but it doesn't go exactly as they planned. When Hannah gets asked out by a boy at school, Amy goes overboard trying to convince her to accept the date. And Nina starts pushing Jake away when she worries that he and Sam are getting too close. Follow us on Twitter and Instagram Artwork - Kathryn Olivieri Music - "Adventures of the Deaf Dreamer (INSTRUMENTAL)" by Josh Woodward. Free download: http://joshwoodward.com
The Ballad of Darcy and Russell By Morgan Matson https://amzn.to/44v64qj From New York Times bestselling author Morgan Matson comes a sweeping romantic novel about love, fate…and that one night that can change everything. Darcy believes in love at first sight. Even though it's never happened to her, she's spent her whole life waiting for that perfect, magical moment. But right now, her life is anything but perfect. In the aftermath of a music festival, she's stranded at a bus station until morning—the day before she leaves for college. Her phone is dead, she has no cash, and she's convinced nothing good can come of this night…but then she meets Russell. Russell. Cute and nice, funny, and kind. She knows this is the moment—and the guy—she's been waiting for. And they have until sunrise to walk and talk and connect. Over the course of this one fateful night—filled with football field picnics, night swimming, and escape-artist dogs—Darcy and Russell's lives will change forever. They'll discover things they never imagined about each other…and about themselves. But can you really know someone after only a handful of hours? Is it possible to fall in love in just one day? And is it worth saying hello…when you know you're destined for a goodbye? Morgan Matson is the New York Times bestselling author of six books for teens, including Since You've Been Gone and Save the Date, and the middle grade novel The Firefly Summer. She lives in Los Angeles but spends part of every summer in the Pocono Mountains.
Our Rev. Kim Palmer, who will be departing these environs in a rather disturbingly short amount of time, explains that while transitions afford growth and opportunity, they can also be tinged with sadness and loss. "Since You've Been Gone," "When You're Not Here", and "Emptiness" composed and performed by Alex Pietsch. Copyright 2024. All rights reserved. Intro and outro background music by Tim Moor at Pixabay. UUMAN is a welcoming congregation and we thank you for taking the time to get to know us a bit better. You can learn more about us by visiting our website at www.UUMAN.org Unitarian Universalism is a religion based on seven moral principles which promote the inherent worth of all people and each individual's search for truth and meaning. Learn more at uua.org UUMAN is a 501(c)3 organization under the Internal Revenue Code. Your contribution is deductible to the full extent provided by law. https://www.uuman.org/donate/ UUMAN - Unitarian Universalist Metro Atlanta North 11420 Crabapple Rd, Roswell, GA 30075 (770) 992-3949 YouTube https://www.youtube.com/channel/UCcRwJlKGVhksTvxKeCXhxeQ Facebook https://www.facebook.com/UUMAN.ATL Instagram https://www.instagram.com/uuman_atl/ #UUMAN #Unitarian #Universalist #Universalism #UU
Check out VRP Rocks Radio : https://live365.com/station/VRP-Rocks-Radio-a61270 This weeks guest is the legendary musician and songwriter, Russ Ballard! Discover the enthralling backstory of Russ Ballard's musical journey, from his worldwide hit "Hold Your Head Up" with Argent to his solo career, years working with Roger Daltrey, the stories behind his anthems, such as "Since You've Been Gone" and "I Surrender" by Rainbow, "God Gave Rock and Roll to You," which gained attention through KISS and Ace Frehley's 70's hit with "New York Groove." He also speaks honestly and openly about his battle with depression and how it shaped his songwriting. Learn more about your ad choices. Visit megaphone.fm/adchoices
Check out VRP Rocks Radio : https://live365.com/station/VRP-Rocks-Radio-a61270 This weeks guest is the legendary musician and songwriter, Russ Ballard! Discover the enthralling backstory of Russ Ballard's musical journey, from his worldwide hit "Hold Your Head Up" with Argent to his solo career, years working with Roger Daltrey, the stories behind his anthems, such as "Since You've Been Gone" and "I Surrender" by Rainbow, "God Gave Rock and Roll to You," which gained attention through KISS and Ace Frehley's 70's hit with "New York Groove." He also speaks honestly and openly about his battle with depression and how it shaped his songwriting. Learn more about your ad choices. Visit megaphone.fm/adchoices
POP THE CORK!!! It is our 3rd The Anniversary Show! Our featured guests include: Alma Gill, Talk Show Host “Ask Alma” Ashton Pina, Film Producer, “Nana's Boys” Dwayne Vernon, Author, “A Master's Plan” Rahim Briggs, CEO, Project Briggs, Inc. Come and salute the “He Said” squad in our 3rd Anniversary Show and a special walk down memory lane entitled, “Since You've Been Gone!” We are going to highlight and recognize some of our special guests that have graced our platform for a celebratory conversation on what's been going on since leaving our stage! --- Send in a voice message: https://podcasters.spotify.com/pod/show/hesaidhesaidhesaidlive/message
This week, I talk with Sagit Schwartz about how she integrated her own experiences with her mother, eating disorders AND the opioid crisis into her emotional, action-packed thriller Since She's Been Gone!SynopsisCan we ever truly know the people we love?Losing her mother to a hit-and-run at age 15 threw Beatrice “Beans” Bennett's life into turmoil. Bereft, she developed a life-threatening eating disorder, and went through a challenging recovery process which paved the way for her work as a clinical psychologist decades later. When a new patient arrives at her office and insists that Beans's mother is still alive—and in danger—Beans is forced to revisit her past in order to uncover the truth. She learns the “patient” is a member of a notorious family that owns a drug company largely responsible for the national opioid epidemic, and that her mother was once tangled in their web. In a race against time—and her mother's assailants—while once again facing the disorder she thought she'd put behind her, Beans discovers that, like herself, her mother had a devastating secret. With its fast-moving, edge-of-your-seat action and intimate look at mental health, Since She's Been Gone will keep readers in its grasp long after the last page.
Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends! This week's friends are Miriam Hacksaw and Rye! We recorded this earlier this week at my home in Portland, OR. Tune in this episode: * I'll Reap What I've Sown / Who's Been Here Since I've Been Gone (0:31) * Come on in my Kitchen / Black Jack Grove (19:08) * Half Irish / Boll Weevil (44:19) * Mississippi Heavy Water Blues (51:59) * Little Red Fox (Miriam Hacksaw original) (1:00:13) * Bonus Track: New Orleans (lyrics by Miriam Hacksaw, to the tune of Bowling Green) Follow Miriam Hacksaw on Instagram (https://www.instagram.com/miriamhacksaw/) TikTok (https://www.tiktok.com/@miriamhacksaw?_t=8hunEUhHsSZ&_r=1) and Facebook (https://www.facebook.com/profile.php?id=100088660206557) Follow Rye on Instagram (https://www.instagram.com/spicy_dialectic/) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)
In this episode of My Simplified Life, host Michelle Glogovac interviews guest Sagit Schwartz, a licensed psychotherapist and author of the upcoming thriller novel Since She's Been Gone. They discuss Sagit's journey as an author, the inspiration behind her book, and the importance of addressing eating disorders in adult contemporary fiction. Here are the key takeaways from the episode: What we're talking about Writing a Dual Timeline Thriller Educational and Emotional Impact Finding Success on TikTok Writing a Duel Timeline Story Writing a dual-timeline thriller adds depth and intrigue to the story, capturing readers' attention and keeping them engaged throughout. Sagit shares how she originally wrote the book in the present tense but later transformed it into a dual timeline thriller with alternating chapters between the past and present. This creative choice has resonated with readers and added depth to the story. Educational Impact Sagit's firsthand knowledge and experience as a licensed therapist contribute to the book's authentic portrayal of eating disorders, creating awareness and understanding among readers. As a licensed clinician, Sagit brings her expertise to the book, providing an authentic portrayal of eating disorders and mental health issues. Readers have praised the book for its educational value and its ability to create empathy and understanding for those dealing with such challenges. Finding Success on TikTok TikTok has given Sagit a unique platform to connect with a wide audience and share her writing, showcasing the power of authenticity and the potential for unexpected opportunities. Sagit discusses her foray into TikTok, where an influencer with millions of followers narrated one of her short stories, leading to viral success. She also highlights the power of authenticity on the platform and the unexpected opportunities it has brought her. This episode delves into the creative process behind Since She's Been Gone and highlights the importance of addressing mental health topics in fiction. Sagit's personal connection to the story and her dedication to raising awareness shines through in her writing. LINKS MENTIONED Sagit Schwartz' Website http://www.sagitschwartz.com/ Since She's Been Gone by Sagit Schwartz https://sagitschwartz.com/#preorder Sagit's Instagram https://iInstagram.com/sagitschwartz Sagit's TikTok https://tiktok.com/@sagitwriter Sagit's Short Story on Reddit https://www.reddit.com/r/nosleep/comments/um3b3j/someone_impersonated_my_therapist_and_then_came/?rdt=62323 Sagit's Short Story on TikTok https://www.tiktok.com/@literallylizzi/video/7141875683671854382?lang=en
Welcome Back! Join us as we kick off the nostalgic journey back to the sun-soaked drama of Laguna Beach's second season. We open the time capsule with episode one, "Since You've Been Gone," where the new narrator, Kristen, and her squad set the stage for a season bubbling with teenage angst and relationship rollercoasters. We can't help but mull over the fascinating dynamics between characters like Alex M., Jason, and Jessica. Whether you're Team Jessica or rooting for Alex M, this season promises to bring all the unforgettable moments back to the forefront, and we can't wait to continue the saga with you.(0:00-9:50) Pre-show winter break banter(9:50) - Episode Recap Begins(16:29 - 17:29) Kristen on Lauren's Decision to Leave (23:50 - 24:53) Christmas Break Reunion and Uncertain Relationships (28:20 - 30:02) MTV's Manipulative Editing and Steven's Homecoming (34:18 - 35:10) Teenage Breakup Song Contrast (36:05 - 37:29) Kristen's Phone Call Drama (39:20 - 41:31) Drama and Romance Among Friends (45:13 - 47:01) Discussion on Steven, Dieter, and Jessica (50:35 - 52:07) Concerns About Dieter and Jessica's Relationship (56:07 - 57:57) Bizarre Relationship Dynamics at Italian Restaurant (01:01:21 - 01:02:32) Gary, Kristen, Matt, and Stephen Drama Instagram: @millennialteavFacebook: Millennial TeaV podcastTiktok: @millennialteavpodcast
Welcome to another installment of Odds & Ends, a series of mini-episodes that invites you to explore the hidden treasures within The Band's extensive musical library. This episode reveals the depths of Richard Manuel and Robbie Robertson's artistic collaboration within the 1967 composition "Katie's Been Gone." From the exquisite composition to the speculated ties with Greenwich Village folk luminary Karen Dalton and the enigmatic drummer behind the scenes, this episode of Odds & Ends is a comprehensive exploration of everything. Learn more about your ad choices. Visit megaphone.fm/adchoices
Uh Oh – Here We Go! Writing a song usually takes So Long Jacknife had a melody and the music was strong Arrow had ideas for words on her Phone She Dived in Fearless and Created The Zone Ch-Ch Ch-Ch Ch-Ch Ch-Ch Cherry Bomb! Arrow started out as A Drummer And knew the Drummer's Importance Lol could have sung like Joe Strummer But Arrow's Passion was Performance Arrow and The Ants! Planning the Stage and the Things that need Care California was lost in a Shoe-gaze Stare Starcrawler first played in a Pizza bar cellar From local group heroes to Rough Trade Stellar! The Lost Art of The Video! Though MTV's Been Gone and Done Arrow arrived fully dressed to Stun Arrow maintains the Video's Importance She Combined Two dresses to wear as Ordnance! Hey Down! - Ho Down! Modern Music is Voice and Beat Drums and Voice are so Complete Songs that Sound Happy with a Dark Undertow Drawing People in Then Letting them GO! Touring or Recording! Arrow still gets Nervous, but The Stage is her Domain Live in The Studio just isn't the Same The Whispering Vocal the Eardrums it Tickles Reality TV when done Eating Pickles? ____ Respect: Muhammad Ali (Cassius Marcellus Clay Jr. January 17, 1942 – June 3, 2016) ___ CONNECT WITH US: Curious Creatures: Website: https://curiouscreaturespodcast.com Facebook: @CuriousCreaturesOfficial Twitter: @curecreatures Instagram: @CuriousCreaturesOfficial Lol Tolhurst: Website: https://loltolhurst.com Facebook: @officialloltolhurst Twitter: @LolTolhurst Instagram: @lol.tolhurst Budgie: Facebook: @budgieofficial Twitter: @TuWhit2whoo Instagram: @budgie646 Lol Tolhurst x Budgie x Jacknife Lee Facebook: @loltolhurstxbudgiexjacknifelee Twitter: @LolBudgieJCKNF Instagram: @lolxbudgiexjacknifelee Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. Learn more about your ad choices. Visit megaphone.fm/adchoices
October is World Mental Health month and I'm talking with Sagit Schwartz on the power books have to shine a light on mental health. She's here to talk about her debut novel: Since She's Been Gone. Sagit Schwartz is a writer, producer, and licensed psychotherapist. Her work has been featured in Medium, Slate, The Atlantic, Reddit NoSleep, and Lifetime Television. She resides with her husband, daughter, and rescue dog in a Southern California beach town….and her novel is incredible for so many reasons. It's the first book I've read (if not ever!) with a main character grappling with an eating disorder in the midst of a gripping storyline that kept me turning the pages compulsively. You'll find the show notes for the episode with links to all of the books and resources mentioned right here. Love this podcast and want more? Consider this your invitation to join my Get Lit(erate) Patreon community! Each month, we take a deep dive into one bookish theme and work to bring it to life in our own lives. You'll get bonus episodes, book calendars, live book club and notebook sessions, special events and much more. Learn more at www.getliterate.co. Get your own Get Lit(erate). notebook to take notes on the books you want to read and notebook ideas you want to try! Follow Stephanie: Website Facebook Twitter Instagram --- Send in a voice message: https://podcasters.spotify.com/pod/show/getliterate/message
Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether) from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut. Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time. The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m
Today marks the 20th anniversary of Powderfinger's remarkable album, "Vulture Street," which was released in 2003. Serving as a follow-up to their highly successful "Odyssey Number Five," this musical gem took inspiration from the iconic Brisbane street, located just a stone's throw away from the GABBA cricket fortress. With its raw energy, heartfelt lyrics, and profound impact on the Australian rock scene, "Vulture Street" has left an indelible mark in the annals of music history. Powerful Success and Chart Triumph: "Vulture Street" was the fifth studio album by Powderfinger and enjoyed immense success. It achieved an impressive six times platinum status, selling over 420,000 copies. Upon its debut, the album secured the top spot on the charts, where it remained for 47 consecutive weeks. The album's undeniable quality and influence earned Powderfinger four ARIA awards, including Album of the Year and Best Rock Album. A Captivating Sonic Journey: From the very first notes, "Vulture Street" engulfs listeners in a captivating sonic journey. The album was intentionally designed to stand apart from the band's previous releases, showcasing their musical prowess and evolution. It beautifully captures the emotional spectrum of life, exploring themes of love, longing, reflection, and social commentary. Heartfelt Lyrics and Soaring Melodies: Powderfinger's ability to tug at heartstrings is evident in tracks like "Love Your Way" and "Since You've Been Gone." These songs resonate deeply with listeners through their heartfelt lyrics and soaring melodies. The poignant reflection on mortality in "Sunsets" offers a moment of introspection, while the anthemic "On My Mind" demands attention with its powerful chorus and thought-provoking lyrics. A Cherished Album in Australian Rock History: "Vulture Street" holds a special place in the hearts of fans, etching itself into the collective memory of Australian rock history. It remains an album that Powderfinger eagerly embraced in their live performances, showcasing their creative brilliance on stage. Even after two decades, "Vulture Street" continues to resonate, standing the test of time and reminding us of the enduring power of music. As we celebrate the 20th anniversary of Powderfinger's "Vulture Street," we pay homage to an album that has become a true sonic masterpiece. With its six times platinum status, chart-topping success, and profound impact on Australian rock, "Vulture Street" solidified Powderfinger's place among the country's greatest musical acts. May its melodies continue to soar, reminding us of the lasting influence of one of Australia's finest bands.See omnystudio.com/listener for privacy information.
Intro Song – D.K. Harrell, “The Right Man”, The Right Man First Set - Selwyn Birchwood, “ILa-View”, Exorcist Paul Boddy & The Slidewinder Blues Band, “Nosy Neighbors”, Nosy Neighbors Larry Taylor, The Taylor Family & The Soul Blues Healers, “Big Town Playboy (Featuring Eddie Taylor Jr)”, Generations of Blues: West Side Legacy Duke Robillard and His All-Star Band, “Shame, Shame, Shame”, Six Strings of Steel Second Set – Bob Corritore & Sam Lay, “Honey Where You Going”, Bob Corritore & Friends: High Rise Blues Arlen Roth & Jerry Jemmott, “(Sweet Sweet Baby) Since You've Been Gone”, Super Soul Session Nigel Mack, “Damn You Mr Bluesman”, Back In Style Third Set – WIB Soulful Femme, “Talkin' Loud And Sayin' Nothing Featuring Tommy Castro”, Attitude Casey Hensley, “Hard Headed Woman”, Live Featuring Laura Chavez Joanna Connor and The Wrecking Crew, “House Rules”, Best Of Me Fourth Set – Lil Jimmy Reed with Ben Levin, “Mailbox Blues”, Back To Baton Rouge Doug Deming & The Jewel Tones, “No Sense”, Groovin' at Groove Now Mike Bourne Band, “Cruisin' Kansas City”, Cruisin' Kansas City Mike Guldin & Rollin' & Tumblin', “Diving Duck Blues Featuring Mikey Junior”, The Franklin Sessions
Get ready to sing some karaoke, because this week we're rewatching “Secrets and Spies.” Christy, Nick, and Steven talk about their varying family dynamics, Nick's terrible karaoke date, and Christy's amazing karaoke performance of Since You've Been Gone. The gang also discusses the hard truth behind the Kidz Bop empire. Whose favorite song is WAP? Why is Kidz Bop so shady? Join us to find out! Follow us at @EvenMoreStevensPod on Instagram, TikTok, Facebook and YouTube. Music by Jimmy Pearson & Jack Kapson Learn more about your ad choices. Visit podcastchoices.com/adchoices
In this episode of Music at a Rational Volume, Nate and Kyle try to get to to the heart of what power pop is and then make a playlist. The truth is it depends on who you talk to and what definition you believe. So being the opinionated and independent minded people they are, the hosts just make their own for a kick-ass playlist just for you. This week's playlist: It's Power Pop To Me Talk to Ya Later - TubesOvernight Sensation - RaspberriesLocal Girls - Graham ParkerJames - BanglesCalling All Girls - Rick SpringfieldFar From Me to You - Big Country Dogtown Days - JayhawksHelp Me Land - Material IssueCruel to Be Kind - Nick Lowe You're All I Wanna Do - Cheap TrickSad Song - the CarsHouse We Used to Live In - SmithereensIt's Alright - VolebeatsSeptember Girls - Big StarGood Girls Don't -- the KnackThe Kids Are Alright - Matthew Sweet & Susanna HoffsChasing Heather Crazy - Guided By VoicesHalf-Way to Crazy - the Jesus and Mary ChainNew Romance - SpiderFox on the Run - the SweetDo You Wanna Touch Me - Joan JettAnything That's Rock ‘n' Roll - Tom PettyCome As You Are - Peter WolfTeacher, Teacher - RockpileAnother Nail for My Heart - SqueezeIf You've Got the Time - the Babys4th of July - XRollerskate Skinny - Old 97'sBack to You - Matthew Sweet68 Guns - The AlarmI'll Do It Anyway - LemonheadsNever Mind - the ReplacementsIf I Can't Change Your Mind - SugarStarry Eyes - the RecordsTill I Hear It From You - Gin BlossomsTwin Cinema - New PornographersSinging in My Sleep – SemisonicLove is Like a Bullet - ShoesWind It Up - BNLGot the Time - Joe JacksonStop Your Sobbing - the PretendersSkidmarks on My Heart - the Go-Go'sAnything Anything - DramaramaThe Breakup Song - Greg Kihn BandIn My Eyes - Best CoastCorvette - Golden SmogNeedle Hits E - SugarDestroyer - the KinksI Still Love Rock ‘n' Roll - FlippGet Over You - The UndertonesKiller Whales - SmallpoolsPen To Paper - Modern SpaceAmour Than Amis - Two Hours TrafficBullet - Steel TrainTwo Hands Up - O.A.R.Bang Pop - Free EnergyCaught Inside - Bad ThingsArt & A Wife - Rah RahLand of Gathering - The CeremoniesHarlem - New PoliticsDon't Run - Bad VeinsEnd Of The World - Hunter HuntedBeverly Hills - WeezerTangerine Speedo - CaviarStacy's Mom – Fountains of WayneMillion Miles Away – PlimsoulsSince You've Been Gone – the Outfield You Better You Bet – the WhoAngry Mob - Kaiser ChiefsLet's Go! - FratellisIf You Wanna - The VaccinesHometown - Sea Girls15 Years - VistasHeart and Soul - Twin AtlanticMusicatarationalvolume.com@MARVpodcast on Twittermusicatatrationvolume profile on Spotify for episode playlists based on topics discussed
We are Nerding out on GUARDIANS of the GALAXY Vol 3! Plus we're talking the latest DUNE Part 2 Trailer, Karl Urban is playing Johnny Cage in MORTAL KOMBAT 2, Jon Faverau talks STAR WARS: SKELETON CREW and more! SHOW NOTES: ---> Hit that Podcast Subscribe Button, Leave us a Review and Tell Your Friends About Us. ---> Dune Part 2 Trailer: https://youtu.be/Way9Dexny3w ---> Across the SpiderVerse 2: https://youtu.be/qJJYNWpr_4U NEXT EPISODE: Ep 249 - TBD ---> Talk Nerdy To Us! Tell us your Thoughts, and Comments via Voicemail, Email or Social Media! ---> Leave us a 1-2 Min Voicemail: https://anchor.fm/SuperNerdPodcast/Message ---> Send us an Email: SuperNerdPodcast@gmail.com ---> Follow us on Facebook, Instagram and Twitter Music: Since You've Been Gone arranged by Geek Music: https://youtu.be/62tPlNHtWI0 --- Send in a voice message: https://podcasters.spotify.com/pod/show/supernerdpodcast/message
Join us for an illuminating discussion about the past and present of roots music with the American Songster himself: Dom Flemons. We explore the history behind the songs and instruments he's collected, his new album, Bob Dylan, and a whole lot more.Support the show:Listen to Part 2 on Patreon, and learn how to incorporate traditional music into your set lists.Make a donation on PayPalPost a review (this helps more guitarists find the show - we really appreciate it!)Additional resources:Check out Dom Flemons' website (and see if he's performing near you.)Listen to Traveling Wildfire and American Songster Radio.Watch Dom Flemons play "Too Long I've Been Gone" on his custom Fraulini Angelina for Acoustic Guitar Sessions.The Acoustic Guitar Podcast theme music is composed by Adam Perlmutter and performed for this episode by Jeffrey Pepper Rodgers.This episode is hosted by Nick Grizzle, produced by Tanya Gonzalez, and directed and edited by Joey Lusterman. Executive producers are Lyzy Lusterman and Stephanie Campos Dal Broi.The Acoustic Guitar Podcast is produced by the team at Acoustic Guitar magazine, including:Publisher: Lyzy LustermanEditorial Director: Adam PerlmutterManaging Editor: Kevin OwensSenior Editor: Blair JacksonCreative Director: Joey LustermanDigital Content Director: Stephanie Campos Dal BroiDigital Content Manager: Nick GrizzleMarketing Services Manager: Tanya GonzalezSpecial thanks to our listeners who support the show on Patreon.Support the show
A rundown of Scheana, Ariana & Katie dj'ing Emo Nite. The story behind the now kind of famous hoodie and how you can get one. A full circle moment with Mod Sun. Good friends don't do you dirty in photos. A certain cover band has been on a blocking rampage... hear about the latest victims. Misconceptions on a previous Vanderpump Rules episode. A symptom of ADHD called rejection sensitive dysphoria. TRIGGER WARNING: Hey it's Jamie here. I briefly mention suicide in this episode, which I know can be distressing. If you need resources or support, please call/text the Suicide & Crisis Lifeline at 988 in the U.S. or www.findahelpline.com in all countries. Follow us: @jamielynneallover Outro song: "Since You've Been Gone" cover by A Day To Remember Learn more about your ad choices. Visit megaphone.fm/adchoices
This week Top Ten brings you the best songs that never charted number one. Adam abuses every ear-worm popular song and Chris is in disbelief how many excellent songs lose to lesser songs. The "official" Top Ten is as follows: (1.) "Bohemian Rhapsody" by Queen, (2.) "Nothin' But a G Thang" by Dr. Dre, (3.) "Crazy" by Gnarls Barkley, (4.) "What's Going On" by Marvin Gaye, (5.) "Waiting For a Girl Like You" by Foreigner, (6.) "Quit Playing Games With my Heart" by The Backstreet Boys, (7.) "Gangnam Style" by Psy, (8.) "Since You've Been Gone" by Kelly Clarkson, (9.) "Louise, Louise" by The Kingsmen, & (10.) "Baker Street" by Gerry Rafferty HONORABLE MENTIONS: On-going rules for all Top Tens: No single person, place or thing being awarded is allowed to have Top Ten placement more than three times for different creations and/or achievements. If one Top Ten pick is selected more than once but no more than three times, it automatically is to be considered for Top 5 selection. Honorable mentions do not count. All Top Tens must be created in the spirit of appreciation for the category/topic only. All picks must be backed by reasonable arguments, facts and intrigue about the pick, or debatable tastes and personal opinions. Intro and outro music licensed through Tribe of Noise Pro. The song "Transmitter" by 10 Code can be found at their website: https://www.10-code.com/ Please like, share, and subscribe! What should our next Top Ten be? For all Top Ten questions and comments, please email us at: toptentalkspod@gmail.com
The Rush Hour Melbourne Catch Up - 105.1 Triple M Melbourne - James Brayshaw and Billy Brownless
JB and Billy are in Perth!, All Sports Report, Fremantle's Andy Brayshaw, Billy has another story from France, Supercars Driver David Reynolds, JB and Billy detail their journey to Perth, Melbourne Storm's Bronson Garlick, Rosie's Entertainment Report, Idiot Song - Since You've Been Gone, Billy's Fruity Friday JokeSee omnystudio.com/listener for privacy information.
Join Chris and Amanda as they face off in the ultimate cover song showdown! In this episode of the Song Swap Showdown, Amanda and Chris each select three iconic cover songs to battle it out. Amanda brings her powerful renditions of Pearl Jam's "Last Kiss," Lauren Daigle's soulful take on "Don't Dream It's Over," and Carrie Underwood's country twist on "I Told You So." Chris counters with his high-energy performances of A Day to Remember's "Since You've Been Gone," Save Ferris' ska-infused version of "Come on Eileen," and Anthrax's heavy metal interpretation of "Keep on Running." Who will come out on top in this epic cover song face-off? Which version of these songs will score the coveted 5 record rating or meet its demise with the dreaded 1 record rating? Tune in to find out! Pearl Jam "Last Kiss" Lauren Daigle "Don't Dream It's Over" Carrie Underwood "I Told You So" A Day to Remember "Since You've Been Gone" Save Ferris "Come on Eileen" Anthrax "Keep on Running"
It's Been Too Long Since We've Been Gone! SO Voice Over Body Shop Is Back With Another Topical VO Discussion With Our Expert Guest: Laura Schreiber! Laura is a full-time, professional voice over actress and her authentic passion and years of experience shine through in her warm and sincere voice. Laura can sound like a charming teenager or a hip-young mom, and working with her feels like you've cast that cute and super fun girl-next-door whom you've always known. That's why we love talking with her! Laura discusses with us, the latest trends in Voice Over today. How can understanding current trends help you book more work? What are some of the trends that we should be mindful of when submitting auditions? Is there a specific process that might help to stay on top of current trends? catch the replay all week on Facebook our homepage VOBS.tv and our podcast for those of you who love to listen on the go! We love our fans and donors for your continued support. VOBS can't be here without YOU and our other great supporters: Voiceoveressentials.com, VOHeroes.com Sourceelements.com, VoiceOverXtra.com, VOICEACTORWEBSITES.com World-Voices.org
Dave is out until Wednesday celebrating his birthday (which is today, HAPPY BIRTHDAY DAVE!) Be sure to wish him on his socials @DaveRyanKDWB // Rose, Bud, & Thorn, Falen's Deep Dive: Since You've Been Gone, & More!
Dave is out until Wednesday celebrating his birthday (which is today, HAPPY BIRTHDAY DAVE!) Be sure to wish him on his socials @DaveRyanKDWB // Rose, Bud, & Thorn, Falen's Deep Dive: Since You've Been Gone, & More!
It's Falen and Jenny today so bear with us while Jenny tries to run equipment with only one good hand, lol! Facebook Fights, a brand new Falen's Deep Dive to SInce U've Been Gone, & Dave's Dirt!
It's Falen and Jenny today so bear with us while Jenny tries to run equipment with only one good hand, lol! Facebook Fights, a brand new Falen's Deep Dive to SInce U've Been Gone, & Dave's Dirt!
Chuck Edwards - "Downtown Soulville" - 45 [0:00:00] Music behind DJ: Jake Porter - "Way Out East" [0:02:19] Johnnie Mae Matthews - "Don't Talk About My Man" - 45 [0:04:31] Johnny Mitchell and The Majestics - "Shoppin & Hoppin" - 45 [0:06:52] Jeanette Williams - "I Can't Wait" - 45 [0:09:22] Mary Ann Fisher - "I Keep Comin' Back for More" - 45 [0:11:36] Music behind DJ: Ramsey Lewis - "Bear Mash" - 45 [0:14:06] Don & the Agitators - "Going Back Home" - 45 [0:17:15] Rudy Mockabee - "Sweet Thing" - 45 [0:19:47] Hal 'Trotter - "Think About It" - 45 [0:23:01] Music behind DJ: Ramsey Lewis - "Since You've Been Gone" - 45 [0:26:19] Fantastic Four - "I Love You Madly" - 45 [0:28:43] Fantastic Four - "As Long As I Live (I Live for You)" - 45 [0:31:32] Fantastic Four - "Man in Love" - 45 [0:34:04] Fantastic Four - "Ain't Love Wonderful" - 45 [0:36:45] Music behind DJ: Ramsey Lewis - "Do What You Wanna" - 45 [0:39:15] Fantastic Four - "Can't Stop Looking for My Baby" - 45 [0:43:42] Fantastic Four - "(I'm Gonna) Live Up to What She Thinks" - 45 [0:45:39] Fantastic Four - "Pin Point It Down" - 45 [0:48:33] Johnny "Guitar" Watson - "There's a Recession Going On" [0:53:29] Apaches - "Trying to Make Ends Meet" - 45 [0:55:45] Music behind DJ: Ramsey Lewis - "Do Whatever Sets You Free" - 45 [0:58:53] https://www.wfmu.org/playlists/shows/119782
This Episode Is For Any Expecting Father & Current Girl Dad. The Love We Have For Our Baby Girls Are Endless
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