Podcasts about belmonts

We'll visit Dion and the Belmonts, and The Everly Brothers before digging into Chuck Berry's fall from grace. Then we'll trace the brief but influential career of Buddy Holly and the end of the 1950s rock and roll era.

In this episode of Personally Speaking, Msgr. Jim Lisante is joined by singer-songwriter Dion DiMucci. Dion was the lead singer of the Bronx based doo-wop legends the Belmonts. Dion has written his third autobiography called, “Dion: The Rock ‘n' Roll Philosopher”. He talks about his life, his career, marriage and the faith and values that matter the most to him.Support the show

Dion Dimucci has been a Rock 'N' Roll pioneer since the late 1950's with his iconic band Dion and the Belmonts. They scored hit after hit including The Wanderer, Runaround Sue, A Teenager in Love and Abraham, Martin and John making them Rock 'N' Roll royalty. Dion co-wrote a stunningly gorgeous coffee table sized book with his pal Adam Jablin called Dion The Rock 'N' Roll Philosopher: Conversations on Life, Recovery, Faith and Music. There are one-of-a-kind photos in the book with music legends Pail Simon, Eric Clapton, Tony Bennett, Bruce Springsteen, Clive Davis, Lou Reed and more. We discuss: 1. How did you come up with the name Dion and the Belmonts? 2. How was it like growing up in Da Bronx being part of the gang the Fordham baldies? Thanks to you guys I have this beautiful coffee table sized book beautifying…my coffee table. Adam 3. How did Dion and Adam get hooked up with each other & what inspired the co-creation of this book? 4. What Dion feels are the reasons for his early success. 5. What gave him the self-confidence that he was a great singer & the ability to sing to millions of people? 6. As with many Rock Legends, Dion seemingly had it all from an outsider's perspective. The hit songs, the fame, the adulation, screaming girls, the power & money…did he feel he had it all and why does he think he turned to a debilitating addiction and what helped him to overcome it? 7. Paul Simon in the books Forward said they don't see each other often but their phone conversations can go on for an hour & usually drift into the spiritual. What does he mean by that? 8. Was there an Aha moment where all of a sudden he found God? How did his spirituality emerge and sustain over all these years? 9. Eric Clapton in the book's prologue says Dion has an essential ingredient: SOUL…buckets of it. How did this soul start & evolve? 10. In 2020 hindsight, what would Dion change if he had to do it all over again? 10. When did Dion first start wearing the berets he is iconically known for and why do you like that signature look? 11.On Feb. 2, 1959 at the Winter Dance Party, there were 4 groups on the bill. Buddy Holly & The Crickets, Big Bopper, Richie Valens & Dion & The Belmonts. The plane didn't make it home and some like Don Maclean called it "The Day the Music Died." What did those guys mean to Dion and why wasn't he on that fatal plane?

Legendary Rock Hall of Fame innovator Dion shares the most lasting influences on his remarkable life - a life that helped shape the last 60 years of rock and roll history. The book features a prologue by Eric Clapton, foreword by Paul Simon, a preface by Bishop Robert Barron, and afterward by Stevie Van Zandt. Dion DiMucci's journey through rock and roll history is as legendary as his hits. As the lead singer of Dion and the Belmonts in the late 1950s, Dion captured the heart of America with chart-toppers like "Runaround Sue", "The Wanderer", and "A Teenager in Love." His later solo success with the profound "Abraham, Martin, and John" in 1968 marked another high, contributing to his twelve gold records. Throughout the 1970s and 1980s, Dion explored folk, blues, and gospel, earning a Grammy nomination in 1985 and an induction into the Rock and Roll Hall of Fame in 1989 alongside icons like the Rolling Stones and Stevie Wonder. In this compelling collection, Dion-the old wise mentor, shares intimate conversations with his mentee and close friend Adam Jablin, reflecting on his rise to fame, battles with heroin addiction, a sixty-year marriage, and the influential figures in his music career, including Hank Williams and Bob Dylan. In the true spirit of recovery, Dion passes on to Adam how to live a truly happy, joyous, free and fulfilled life. Featuring over 200 vibrant photos, this book captures not just the life of a music icon but six decades of rock and roll evolution.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Legendary Rock Hall of Fame innovator Dion shares the most lasting influences on his remarkable life - a life that helped shape the last 60 years of rock and roll history. The book features a prologue by Eric Clapton, foreword by Paul Simon, a preface by Bishop Robert Barron, and afterward by Stevie Van Zandt. Dion DiMucci's journey through rock and roll history is as legendary as his hits. As the lead singer of Dion and the Belmonts in the late 1950s, Dion captured the heart of America with chart-toppers like "Runaround Sue", "The Wanderer", and "A Teenager in Love." His later solo success with the profound "Abraham, Martin, and John" in 1968 marked another high, contributing to his twelve gold records. Throughout the 1970s and 1980s, Dion explored folk, blues, and gospel, earning a Grammy nomination in 1985 and an induction into the Rock and Roll Hall of Fame in 1989 alongside icons like the Rolling Stones and Stevie Wonder. In this compelling collection, Dion-the old wise mentor, shares intimate conversations with his mentee and close friend Adam Jablin, reflecting on his rise to fame, battles with heroin addiction, a sixty-year marriage, and the influential figures in his music career, including Hank Williams and Bob Dylan. In the true spirit of recovery, Dion passes on to Adam how to live a truly happy, joyous, free and fulfilled life. Featuring over 200 vibrant photos, this book captures not just the life of a music icon but six decades of rock and roll evolution.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Rock and roll icon Dion DiMucci joins us for this week's episode of You Are What You Read. Dion was the lead singer of Dion and the Belmonts and a prominent solo artist with signature hits, “Runaround Sue”, “The Wanderer”, “Ruby Baby”, and “Lovers Who Wander”. In 1989, he was inducted by our good friend Stevie Van Zandt into the Rock n' Roll Hall of Fame with The Rolling Stones and is one of only two artists (along with Bob Dylan) to be on the cover of The Beatles Classic—Sgt. Pepper's. He joins us this week with his memoir, DION: THE ROCK AND ROLL PHILOSOPHER. Learn more about your ad choices. Visit megaphone.fm/adchoices

Volg Kevin, Jesse en Rick in een avontuur van Pol waarbij wij spelen als vampieren! De vraag is... worden het Muppets zoals Count? Twilight? Blade? Strahd? Dracula (uit de waanzinnig toffe Castlevania anime)? Dat zien we straks :D . Los van welke gevaren we gaan trotseren. Worden het de wolven van Powerwolf? Een kroost van Belmonts? Von Helsing? "DnDutch" and other materials by Vechel Fantasy is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. (C) Wizards of the Coast LLC. The music tracks are made by Arcane Anthems. This work is licensed under a Creative Commons Attribution 4.0 International License. I am a proud Patreon supporter! Met ook extra dank aan Ruben Verkerke voor de inmiddels welbekende DnDutch-tunes ;) .

Extrait : « … il s'associe avec Doc Pomus, alors chanteur blanc de blues assez respecté et de 13 ans son ainé. Ensemble ils constituent un duo de parolier et compositeur, Doc Pomus à la feuille blanche, Mort Shuman au piano, et enchainent les tubes pour les plus grands artistes de l'époque, Dion and the Belmonts, The Drifters, mais surtout pour Elvis Presley, qui interprètera 24 de leurs chansons. Dans une interview donnée à Libé en 1984, à la question Et ça rapporte combien, par an, 24 chansons écrites pour Elvis, il donne le chiffre de 50 briques, une vieille expression qui n'a plus cours depuis l'irruption de l'Euro, et qui équivalait à 500 000 francs de l'époque, soit environ 200 000 euros aujourd'hui, je me suis clairement gourré de métier … »Pour commenter les épisodes, tu peux le faire sur ton appli de podcasts habituelle, c'est toujours bon pour l'audience. Mais également sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde.Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Send us a text#60smusic #thewanderer  #rockandrollTODAY'S GUEST DION DIMUCCILegendary Rock Hall of Fame innovator shares the most lasting influences on his remarkable life — a life that helped shape the last 60 years of rock and roll historyDion DiMucci's journey through rock and roll history is as legendary as his hits. As the lead singer of Dion and the Belmonts in the late 1950s, Dion captured the heart of America with chart-toppers like "Runaround Sue", "The Wanderer", and "A Teenager in Love." His later solo success with the profound "Abraham, Martin, and John" in 1968 marked another high, contributing to his twelve gold records. Throughout the 1970s and 1980s, Dion explored folk, blues, and gospel, earning a Grammy nomination in 1985 and an induction into the Rock and Roll Hall of Fame in 1989 alongside icons like the Rolling Stones and Stevie Wonder.In this compelling collection, Dion shares intimate conversations with close friend Adam Jablin, reflecting on his rise to fame, battles with heroin addiction, a sixty-year marriage, and the influential figures in his music career, including Hank Williams and Bob Dylan.Featuring over 200 vibrant photos, this book captures not just the life of a music icon but six decades of rock and roll evolution.DION DIMUCCI THE ROCK AND ROLL PHILOSOPHERORDER THE BOOK ON AMAZON➜ https://amzn.to/4fjcfS0****************************************************"Support your favorite show and channel! Click the link below to donate. Don't forget to include your name for a special shoutout. Thank you!"*MEMBERS ONLY➜https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/joinSupport the show

Tony delves into the beautiful world of music harmonies, presenting a special show titled 'Harmonizing Nights.' He starts with the classic 'Where or When' by Dion and The Belmonts and continues with hits from The Lettermen, The Bee Gees, The Temptations, Thurston Harris, The Fiestas, The Cookies, The Chiffons, The Everly Brothers, The Tokens, and many more. Tony also shares personal anecdotes and memories from his time with notable musicians and pays a heartfelt tribute to the late Steve Alaimo. Special guest Dion Dimucci joins the show to share insights about his music and upcoming projects. The episode concludes with iconic harmonies from Queen and a reminder to cherish each day. Tune in for an evening filled with timeless melodies and stories celebrating the power of harmonies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello. Been three weeks since last pod and we have a lot to talk about including Vampire Survivors Castlevania DLC, Call of duty Black Ops 6, Metaphor: Refantazio, and much more. Happy 10th Anniversary to Bayonetta 2 and Sunset Overdrive, 20th Anniversary Grand Theft Auto: San Andreas, and 30th Anniversary to Doom 2.

Music's most famous breakup in the late 20th century was surely the failed love affair of youngsters Suze Rotolo and Bob Dylan. Or at least it was the most productive parting on record.Following their split, 20-year-old Dylan wrote some his most plaintive songs of the era. “Don't Think Twice, It's All Right” and “Boots of Spanish Leather,” “Tomorrow is a Long Time” and “One Too Many Mornings, “Ballad in Plain D” and more were all clearly about Suze.One of the lesser known of Bob's breakup ballads from the same period was “Mama, You Been on My Mind.” EuropeIn mid-May 1964, Dylan completed a concert tour of England, afterward vacationing in France, Germany and Greece. During his ramble abroad, he wrote several songs for his upcoming album, Another Side of Bob Dylan.Then back in the States, he went into Columbia's Studio A and in a single night (June 9, 1964) he recorded 14 new songs, including one take of "Mama, You Been on My Mind.” When the album was released two months later, though, the song was not included. However, a few years later, “Mama, You Been on My Mind” became one of the earliest outtakes widely circulated on bootleg albums. The boots documented the two drafts of "Mama, You Been on My Mind" that Dylan wrote on notepaper from the May Fair Hotel where he had stayed in London during the tour.Dylan biographer Howard Sounes called it "one of the finest love songs he ever wrote.” Saying Dylan took responsibility for making a mess of his relationship with Rotolo, Sounes said the song showed Bob “could express himself with delicacy and maturity.”PerformancesIn concerts over the years, Dylan has performed the song hundreds of times, most notably in duets with his erstwhile post-Suze squeeze, Joan Baez. Their first duet was at Baez's concert at Forest Hills tennis stadium in Queens, NY, on Aug. 8, 1964. It was repeated a couple of months later, on Oct. 31, during Dylan's show at New York City's Philharmonic Hall. The two reprised their performance a decade later during Bob's 1975-76 Rolling Thunder Revue tour.Baez put a solo version — as “Daddy, You Been on My Mind” — on her 1965 Farewell, Angelina album.Meanwhile, the song has had some superstar coverage over the years, by the likes of Judy Collins and by Johnny Cash, by Rick Nelson and by George Harrison, by Linda Ronstadt and by Rod Stewart, and by everyone from The Kingston Trio to Dion and The Belmonts.Our Take on the TuneFlood founders Dave Peyton, Roger Samples and Charlie Bowen all started listening to the music of Bob Dylan 60 years ago, so it is little wonder that his songs are deeply woven in the band's fabric. Still today, whenever The Flood gets feeling folkie — as the guys were at this rehearsal a week or so ago — it's likely a Dylan tune will be the first to come to mind.Do More Dylan?Evidence of the band's delight in doing Dylan is the fact that one of the first special playlists created for the free Radio Floodango music streaming service a few years ago was this one done to celebrate Bobby's birthday. For more of The Flood's spin on Dylan tunes, give it a listen by clicking here. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

A muchos les sigue resultando extraño que para entender quién es Jesús, tengamos que preguntarnos por qué murió, pero esa es la lógica del Evangelio. De los 89 capítulos en que está distribuido el texto de los cuatro evangelios, treinta, o sea un tercio, están dedicados al relato de la Pasión. Es como si nos dijeran, que para Jesús, lo que ocurre al final de su vida, es su historia. "De los temibles riscos de Sion a las llanuras de Belén / el poderoso corazón de Dios es traspasado cuando los clavos atraviesan sus manos / El Padre vuelve la cara de su amado y torturado Hijo" (Breathless Wonderment / The Dream Becomes Reality 1984), canta Barnabas, la banda de California, formada tras la Revolución por Jesús en 1977 con el nombre de Bernabé. Su rock duro tenía una chica como cantante, Nancy Jo Mann. "Una cruz sobre un monte" (Cross On A Hill 1979) cambia también la vida de Andy Pratt, el cantautor de Boston que tras el éxito de "Avenging Annie", se convierte al cristianismo y reside en Holanda desde 1987 a 2004. La película que da título hoy a nuestro programa, "Calvary" (2014) comienza con la confesión a un cura de los abusos de un sacerdote en un pequeño pueblo irlandés, que interpreta Brendan Gleeson. Lo sorprendente de esa primera escena es que la confesión acaba diciendo que por eso, va a matar a un cura inocente como él, por el mal que otro ha hecho. Tiene toda la semana, hasta el domingo, para prepararse para morir en paz. Esos días descubrimos las miserias de esa aldea y sacerdote, ante la perspectiva de una muerte vicaria, que nos hace pensar en el Calvario que sufre el Justo por los injustos. José de Segovia comenta las escenas con la banda sonora original de Patrick Cassidy. El himno de Isaac Watts, "La cruz excelsa" tiene una letra aún más emocionante en inglés (When I Survey The Wondrous Cross). La escuchamos en la voz de Cliff Richard, que la grabó dos veces. La segunda en 1977, es sobrecogedora. Una canción con el título de "No llovió" (Didn´t It Rain 1990) no pensarías que es sobre la Cruz. Uno de los "hippies" que llegó a la fe con la "Gente de Jesús", Randy Stonehill observa así el agobio del Crucificado. Acabamos el programa con la invitación de "Venir a la Cruz" (Come To The Cross 1985) de un músico aún más veterano, todavía en activo, Dion DiMucci, que vivió también una dramática conversión al cristianismo después de haber arruinado su reputación como "padre del du-duá" o "doo-woop" con los Belmonts.en los años 50.

This is not your ordinary episode. In this weeks episode, I make a huge announcement for an upcoming film that I wrote, produced & stared in. Sounds a lot like "A Bronx Tale" and that's because this film is called "A Bronx Tale | The Original One Man Show". We finally filmed my one man show and put it in a cinematic format that has never been done before.   Be one of the first to see the world premiere at DeNiro Con, where I will also be doing a Q&A after the screening. https://tribecafilm.com/denirocon/screenings-and-talks/bronx-tale-the-original-one-man-show-2024   In addition to the big announcement, I will be going through each track from the original "A Bronx Tale" movie and giving my insight as to how and why the songs were chosen. I get compliments on the soundtrack of "A Bronx Tale" all of the time, so I figured that I could spend a whole episode on it.   We had some of the greatest artists and greatest songs of all time in this movie. Not to mention, it was the first time a Beatles track was used in film. Some of the other artists include Dion & The Belmonts, Miles Davis, James Butler, The Rascals, Tony Bennett, Frank Sinatra & much more.   Join me every Monday morning for brand new episodes of The Chazz Palminteri Show, where we bring you exciting insights and captivating guests who contribute to the dialogue of change.

The Castlevania series is rich with lore and history, offering a vast timeline of events and a diverse cast of characters, both human and supernatural. Here's an expanded overview I used for this podcast: Early Beginnings: The earliest known events in the Castlevania timeline date back to ancient times, where the origins of Dracula, the primary antagonist, are often explored. Depending on the continuity, Dracula may have been a human who turned to dark magic, a fallen angel, or even Vlad the Impaler himself, infused with dark powers. The Belmont Legacy: The Belmont family stands as the primary force against Dracula and his minions throughout the series. Originating with Leon Belmont in the 11th century, the family's lineage includes formidable vampire hunters like Trevor Belmont, Christopher Belmont, Simon Belmont, and many others. Each generation brings forth a new hero to combat the forces of darkness. Rise of Dracula: Dracula's return is a recurring theme in Castlevania lore. Typically, his resurrection is triggered by various means, including cultists performing dark rituals, misguided scientists experimenting with forbidden knowledge, or simply the passage of time weakening the seals that bind him. Allies and Adversaries: Alongside the Belmonts, numerous other characters play significant roles in the struggle against Dracula. These include allies like the magician Sypha Belnades, the half-vampire Alucard (Dracula's son), and the pirate Grant Danasty. Conversely, Dracula's inner circle often consists of powerful minions, such as Death, Carmilla, and Shaft, who aid him in his quest for dominion over humanity. The Eternal Conflict: The battle between Dracula and the forces of good is not limited to the physical realm. Themes of redemption, sacrifice, and the nature of humanity versus monstrosity are prevalent throughout the series. Characters often grapple with their own inner demons as they confront the external threat posed by Dracula and his ilk. Adaptations and Expanded Universe: The Castlevania series has expanded beyond video games into other media, including animated series, novels, and comics. These adaptations often explore different aspects of the lore, providing additional depth to the characters and setting. By delving into these aspects, I provide my listeners with a comprehensive overview of the rich tapestry that is the Castlevania timeline and the history of vampire hunters within it. https://www.facebook.com/photo/?fbid=803973507752007&set=a.277878573694839 https://open.spotify.com/playlist/09olq4cpNbc6CRgDe5GzkA?si=2d3c1b8c2c4d4ec8 --- Send in a voice message: https://podcasters.spotify.com/pod/show/willie-jackerson/message

The boys breakdown the back half of Belmonts new record, Linimal. Enjoy!

The lads breakdown the front half of Belmonts new amazing new record, “Linimal” Enjoy!

Dion DiMucci better known as Dion, is a Rock and Roll Hall Famer who's career spans 6 decades. And he's still rockin' and a rollin'.  Before there was The Beatles or The Rolling Stones, Dion was one of the most prominent rock and roll performers of the pre-British Invasion era. Initially the lead singer of the vocal group Dion and the Belmonts, he then embarked on a solo career, he had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, or with the Belmonts and the Del-Satins. He is best remembered for his signature hit songs "Runaround Sue", "The Wanderer", "Ruby Baby" and "Lovers Who Wander", among others. During the 1980s, Dion produced several Christian albums, winning a GMA Dove Award in 1984 for the album I Put Away My Idols. The Grammy-nominated artist, Dion was inducted into the Rock and Roll Hall of Fame in 1989 along wit The Rolling Stones and Otis Redding. In 2002, Dion was inducted into the Grammy Hall of Fame for "Runaround Sue”. Even a musical based on Dion's life, The Wanderer debuted in 2021. Telling a story of transformation and personal redemption. Now, he has his 42nd album debuting called Dion and Girl Friends, a rockin' album you've got to hear. Ladies and gentlemen, let's welcome THE rock and roll legendary icon, hey he's rock and roll royalty. The one and the only DION to the show! #rockmusic #bluesmusic #brucespringsteen #billygibbons #jeffbeck #paulsimon #joebonamassa #susantedeski #newmusic #newrelease #newalbum #bobdylan #tobykeith 

Dion DiMucci better known as Dion, is a Rock and Roll Hall Famer who's career spans 6 decades. And he's still rockin' and a rollin'.  Before there was The Beatles or The Rolling Stones, Dion was one of the most prominent rock and roll performers of the pre-British Invasion era. Initially the lead singer of the vocal group Dion and the Belmonts, he then embarked on a solo career, he had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, or with the Belmonts and the Del-Satins. He is best remembered for his signature hit songs "Runaround Sue", "The Wanderer", "Ruby Baby" and "Lovers Who Wander", among others. During the 1980s, Dion produced several Christian albums, winning a GMA Dove Award in 1984 for the album I Put Away My Idols. The Grammy-nominated artist, Dion was inducted into the Rock and Roll Hall of Fame in 1989 along wit The Rolling Stones and Otis Redding. In 2002, Dion was inducted into the Grammy Hall of Fame for "Runaround Sue”. Even a musical based on Dion's life, The Wanderer debuted in 2021. Telling a story of transformation and personal redemption. Now, he has his 42nd album debuting called Dion and Girl Friends, a rockin' album you've got to hear. Ladies and gentlemen, let's welcome THE rock and roll legendary icon, hey he's rock and roll royalty. The one and the only DION to the show! #rockmusic #bluesmusic #brucespringsteen #billygibbons #jeffbeck #paulsimon #joebonamassa #susantedeski #newmusic #newrelease #newalbum #bobdylan #tobykeith 

The protagonist's surname might be Belmont. We put it to a vote and our listeners have spoken. For this episode, Tom and Chris investigate the new-to-gamepass metroidvania developed by ArtPlay and published by 505 Games. Spearheaded by Kogi Igarashi and assisted by a number of other Castlevania alumni, this title sits squarely in the realm of spiritual successor. You won't find Dracula or any Belmonts here, but the theme and mechanics are sure to remind you of that highly regarded franchise. With that nostalgia well in hand, will the game still be unique enough to stand on its own? Tom and Chris have embarked on their usual hour-long sojourn and have returned with their findings. Let's learn if they will see this one through to the end. What do you think? Let us know! Hit us up on Twitter at https://twitter.com/tc1h1d Drop us an email at tc.1h1d(at)outlook[dot]com Follow us on Goodpods @1h1d Check out our fancy site: https://quitthebuild.com/1h1d Watch the video: https://www.youtube.com/c/1hour1decision1h1d Thanks for taking this ride with us :-) --- Send in a voice message: https://podcasters.spotify.com/pod/show/1-hour-1-decision/message

Rock n Roll Hall of Famer Dion joins me today.  Bruce Springsteen described him as “the link between Sinatra and rock 'n' roll.”  In 1958, Bronx-born Dion burst onto the scene with Dion and the Belmonts and had several hits.  After going solo in 1961 he had a #1 record with "Runaround Sue" followed by "The Wanderer.”  Dion DiMucci has since ventured into Christian music, the blues, and most recently recorded "American Hero" with Carlene Carter …and soon, an album "Girlfriends."  Later this year, the musical production of Dion's life, “The Wanderer,” is scheduled to open on Broadway. Check out other Julie Hartman videos: https://www.youtube.com/@juliehartman Follow Julie Hartman on social media: Website: https://juliehartmanshow.com/Instagram: https://www.instagram.com/julierhartman/ X: https://twitter.com/JulieRHartman See omnystudio.com/listener for privacy information.

A preview of our upcoming show with special guest "Dion" A man who needs no introduction Dion has been performing for 7 decades beginning of course with "Dion and the Belmonts" before beginning a varied solo career which is going strong today as he prepared to release the new album "Girlfriends" which includes collaborations with RORY BLOCK CARLENE CARTER SHEMEKIA COPELAND DEBBIE DAVIES RANDI FISHENFELD SUE FOLEY DANIELLE NICOLE CHRISTINE OHLMAN MAGGIE ROSE JOANNE SHAW TAYLOR SUSAN TEDESCHI VALERIE TYSON The full show is coming next week along with a host of other guests on what will be our 100th show --- Send in a voice message: https://podcasters.spotify.com/pod/show/classic-rock-news/message

This week's show, after a 1955 Louis Armstrong carol: brand new Joel Stoker, Grandaddy, Soft Science, Junipers, Slowdive, BV's, and Tobin Sprout, plus Bobby Womack, Willie Nelson, Leroy Smart, Beatles, Simon & Garfunkel, Dion & the Belmonts, and Danny ...

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a patron and enjoy special perks and bonus content.Jennifer Lynn Cary visits the podcast this week and chats about her book, Runaround Sue. We talk about cover design (you have to see the covers for all the books in this series), what Kokomo, Indiana, was like in the 60s and 70s, and about Vietnam and Vietnam vets. Patrons get to hear about her passion for crochet and what her most challenging project has been. Runaround Sue by Jennifer Lynn CaryShe gave away something precious……He lost a part of himself.Can they find a way to help each other heal?Sue is hiding out until she is sure her former reputation won't destroy what she's trying to rebuild. Unfortunately, that means this brilliant wordsmith turned semi-hermit is working beneath her potential and dealing with stress every time her office door opens.The last thing she needs to do is greet some biker guy who sets her nerves to jumping just by being in the same room. And if his hairy face isn't enough to put her off, the mere fact that he's male is.So why does she keep ending up in his presence?Mac is home from Viet Nam and if he never thinks about that place again, it will be too soon. Instead he's returned to his music that got him through his teen years, his exotic senior trip overseas (thanks to his Uncle Sam), and the deep wound that he brought home with him. Using his GI bill to further his music understanding has pushed him outside his comfort zone, but the leggy secretary at his professor's office is tempting him with other ideas he thought he'd shelved for good.Even if she gets flustered every time he runs into her.What will it take for her to give him a chance? Or is she more wounded than he is?Return to 1972 Kokomo, Indiana for the third installment of The Weather Girls Wedding Shoppe and Venue series—Runaround Sue—and what happens when people discover who God has called them to be.You will love Runaround Sue, inspired by Dion and the Belmonts' 1960s hit song, because everyone understands about facing fears with a do-over.Get your copy of Runaround Sue by Jennifer Lynn Cary.My name is Jennifer Lynn Cary.I am a retired teacher, an ardent fan of crocheting and a DIY kind of girl.Oh, and I write. A lot.The guy with the sweetest kiss in the world is my hubs of more than 40 years, affectionately known as Mr. Grumpy Pants.Together we've raised three of the most beautiful and intelligent daughters ever, who were smart enough to marry three of the most handsome and wonderful young men around. I have often said my sons-in-law are the best on the planet. You're going to have to trust me on this.And then there are the grands. Yep, I know I don't look it, but I am a grandmother of an ingenious seventh grader–Stinkerbelle–and a precocious toddler–Stinkerpoo, and his little sister-baby Stinkerella. They make me laugh, cry, and brag more than I ever expected.I saved the most important of all for last. I am a child of the King of kings. He has blessed me beyond reason and has never left me alone. I write for His glory.That's me. There's more I could add, but for now, that's enough of an introduction.Visit Jennifer Lynn Cary's website.

Opening Monologues. GOP Establishment slaps its voters yet again by blocking Jim Jordan for Speaker. Darkness behind closed doors. Teachable moment, unsustainable GOP dynamics. Callers extremely disappointed in Colorado Rep. Ken Buck of CNN. Plus, latest polling shows Trump further dominating GOP Primary, all other candidates stuck in single-digits. Most humiliating primary ever for the RINO class. Why do they bother? Also, Israeli civilian applications for firearm permits now soaring. A plea for more backup vocals in pop music. Whatever happened to all that? Notes on Dion & the Belmonts and Wilco.See omnystudio.com/listener for privacy information.

Cet épisode parle de "There Goes My Baby" des Drifters et explique comment une fausse maison de disques, un groupe renvoyé pour ivresse et un joueur de timbale qui ne savait pas jouer ont abouti à un succès qui a défini le genre. The Drifters, There Goes My Baby Clyde McPhatter and the Drifters, Such a Night The Drifters, Fools Fall In Love the Flyers, My Only Desire Bill Pinkney, After the Hop The Drifters Moonlight Bay Bobby Hendricks, Itchy Twitchy FeelingT he Harmony Grits, I Could Have Told You Johnny Darrow, Chew Tobacco Rag The Sprites, My Picture The Five Crowns, You're My Inspiration The Five Crowns, You Could Be My Love The Five Crowns, You Came to Me Doc Pomus, Send for the Doctor Dion and the Belmonts, Teenager in Love The Crowns, Kiss and Make Up Screamin' Jay Hawkins, I Put a Spell on You The Drifters, There Goes My Baby The Drifters, If You Cry True Love, True Love

Se cumplen 30 años de la película “Una Historia del Bronx” (A Bronx Tale), estrenada el 14 de septiembre de 1993 en el Toronto International Film Festival. Su fantástica banda sonora ayudó a elevar muchos momentos de este film que arranca en 1960, en plena edad de oro del doo wop, y finaliza en 1968, con el movimiento contracultural y la lucha por los derechos civiles en todo su apogeo. Playlist; (sintonía) COOL CHANG “The streets of the Bronx” DION and THE BELMONTS “I wonder why” THE CLEFTONES “Little girl of mine” JERRY BUTLER “For your precious love” DEAN MARTIN “Ain’t that a kick in the head” AARON NEVILE “Tell it like it is” THE RASCALS “A beautiful morning” BOBBY WATSON “Bustalk” THE GERRY NIEWOOD QUARTET “I only have eyes for you” WILSON PICKETT “Ninety nine and a half (won’t do)” THE FLAMINGOS and THE COMPLEXIONS “I only have eyes for you” THE FOUR TOPS “Baby I need your lovin’” JAMES BROWN “It’s a man’s man’s man’s world” THE JIMI HENDRIX EXPERIENCE “All along the watchover” THE MOODY BLUES “Nights in White satin” DONALD BYRD “Cristo redentor” Escuchar audio

Castlevania is another one of those series that has been around since the dawn of console gaming. Tales of Belmonts, whips, vampires, and crypts. The notoriety of its design grew so large that it even spawned its own sub-genre. Though the series has turned to dust, its image has been resurrected by many spiritual successors which carry on the incredible legacy. Drop in and give a listen on why the Castlevania series matters and how it has had such an impact on games today. And make sure to subscribe to https://www.youtube.com/@ProfessorBopper --- Support this podcast: https://podcasters.spotify.com/pod/show/rpgaymer/support

Thursday talking w/ Lindsay Woolley about his decision to leave UM Western. Plus, Barry Abrams previews the Belmont and we relive 2 amazing previous Belmonts. Visit jasonwalkershow.com for more and to listen to Continental Divide Radio. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason-walker89/message Support this podcast: https://podcasters.spotify.com/pod/show/jason-walker89/support

Doo wop music. It's the harmonized sound of street corner serenades and teenage romance. The irresistible sound that makes you wanna snap your fingers, sway your hips, and sing along with those timeless harmonies. This music broke down racial barriers years before the civil rights movement, as millions of kids across the country just cared about listening to great music.  Some of the most popular groups of the era were Frankie Lymon and the Teenagers, The Drifters, the Platters, Dion & The Belmonts, and more. There were also dozens of one hit wonders that you still hear today, like Earth Angel and Get A Job.  As the 1950s gave way to the 1960s, doo wop began to give way to other styles of music like rock and roll and soul. But it's legacy and the music lives on.  In this episode of Prisoners of Rock and Roll, we're looking at the history of doo wop music so gather ‘round that burning trash barrel out on the corner. We're going on a music journey that will have you singing “shoo be doo” in no time.  Hear More Check out the episode playlist. Get In Touch Check us out online, on Facebook, Twitter, or YouTube. or drops us an email at show@prisonersofrockandroll.com. Or if you're in Philadelphia, come visit our home base at McCusker's Tavern. Learn more about your ad choices. Visit megaphone.fm/adchoices

Doo wop music. It's the harmonized sound of street corner serenades and teenage romance. The irresistible sound that makes you wanna snap your fingers, sway your hips, and sing along with those timeless harmonies. This music broke down racial barriers years before the civil rights movement, as millions of kids across the country just cared about listening to great music.  Some of the most popular groups of the era were Frankie Lymon and the Teenagers, The Drifters, the Platters, Dion & The Belmonts, and more. There were also dozens of one hit wonders that you still hear today, like Earth Angel and Get A Job.  As the 1950s gave way to the 1960s, doo wop began to give way to other styles of music like rock and roll and soul. But it's legacy and the music lives on.  In this episode of Prisoners of Rock and Roll, we're looking at the history of doo wop music so gather ‘round that burning trash barrel out on the corner. We're going on a music journey that will have you singing “shoo be doo” in no time.  Hear More Check out the episode playlist. Get In Touch Check us out online, on Facebook, Twitter, or YouTube. or drops us an email at show@prisonersofrockandroll.com. Or if you're in Philadelphia, come visit our home base at McCusker's Tavern. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aujourd'hui, nous allons nous pencher sur un disque qui occupe une triste place dans l'histoire du rock and roll, car c'est le disque qui est souvent crédité comme "le premier tube posthume du rock and roll". C'est un record assez glauque. Mais ce qui est glauque c'est surtout de se dire que c'est le premier de plusieurs succès posthumes de Holly, et qu'il y aura beaucoup plus de succès posthumes d'autres artistes après lui qu'avant lui. Que c'est même devenu un outil du musique business. Enjoy Cpt Diligaf Buddy Holly, “It Doesn't Matter Any More” Buddy Holly, “Peggy Sue” Paul Anka, “Diana” The Crickets featuring Dean Barlow, “Be Faithful” Buddy Holly, “Bo Diddley (Undubbed Version)” Sonny West, “All My Love” The Crickets, “Oh Boy!” Niki Sullivan, “It's All Over” The Crickets, “It's So Easy” Ivan, “Real Wild Child” Waylon Jennings, “Jole Blon” Buddy Holly, “It Doesn't Matter Any More” Buddy Holly, “Crying, Waiting, Hoping” Dion and the Belmonts, “Teenager in Love” the Big Bopper, “Chantilly Lace” Ritchie Valens, “Donna” Bobby Vee, “Suzy Baby” The Crickets, “I Fought the Law”

On today's show Stromer unravels the next steps in the bathroom build, Adam explains how purchasing tiles has changed, and they check out Pink Floyd's Nick Mason's ultimate car collection. Then, they take your questions on moving a shed to build a pool, building a bump-out, and how to properly lay down shower tiles.

The Brian D. O'Leary Show February 3, 2023   Today's show brought to you by O'Leary Beef and Southside Market & Barbecue. Set up your “Big Game” party with pit-roasted meats from Texas delivered to your front door.   Fountain.FM Listen and support us at the same time over at Fountain.FM   A tragic day, but “the Music” continued The legendary rock ‘n' roller Buddy Holly headlined a package show in early 1959, known as the Winter Dance Party. The itinerary was bananas. It covered twenty-four Midwestern cities in twenty-four days—there were no off days. The tour schedule crisscrossed the upper Midwest with no apparent logic. Overnight jaunts of several hundred miles—all in sub-freezing temperatures—were commonplace. Holly historian Bill Griggs had this to say about General Artists Corporation (GAC)—the operation which booked the tour: "They didn't care. It was like they threw darts at a map… The tour from hell—that's what they named it—and it's not a bad name." On February 2nd, the show in Clear Lake, Iowa ended, and the tour headed about 400 miles northwest from Clear Lake to Morehead, Minnesota. Holly famously chartered a plane for his band prior to the show. Buddy was concerned with getting some rest and making a head start to take care of some much-needed laundry for him and his tour mates. Ultimately, only the headliners of the show took the charter. Waylon Jennings, then playing bass guitar in Holly's band, said he felt more comfortable riding on the tour bus and voluntarily gave up his seat to J.P. Richardson, the Beaumont, Texas disc jockey and tour co-headliner, known as The Big Bopper. Richardson felt ill and needed rest. The Winter Dance Party consisted of several contemporary and would-be stars. Yet the party ended on February 3, 1959, for the 22-year-old Holly and 28-year-old Big Bopper when the plane went down in a blizzard shortly after takeoff, five miles northwest of Mason City, Iowa. Also perishing in the infamous crash was 17-year-old Ritchie Valens of “La Bamba” fame. Yet the tour played on. Sadly, in retrospect. Future chart-topper Bobby Vee, then but 15-years-old, had Buddy Holly's material down cold. So, the Minnesota child filled in—in place of Holly—on February 3 in Morehead. Jimmy Clanton, Frankie Avalon, and Fabian ultimately finished the tour in the place of the deceased stars. Waylon couldn't get to Holly's funeral. GAC wouldn't let him leave the tour. To add insult to injury, venue managers regularly threatened non-payment for shows because the original headliners didn't appear. It didn't matter that they had perished in a tragedy. After the crash, Jennings continued for two more weeks on the tour with doo-wop stars Dion and the Belmonts amongst others. Lead singer Dion DiMucci is the last original headliner still alive today and is in his early 80s. Jennings returned to Lubbock, Texas after the tour ended. Holly's father looked after young Waylon. In Waylon: An Autobiography, Jennings wrote: “Mr. Holley wanted to promote me, because he said Buddy believed in me, but I had enough sense to know that wouldn't be right. He bought me clothes and things like Buddy would.” Waylon returned to the job that got him noticed by Buddy Holly in the first place, as a radio disc jockey. He bounced around west Texas and Arizona as a DJ for the better part of a decade before he reappeared in the public consciousness as a musician once again in the late 1960s. So, contrary to the schmaltz unleashed by Don McLean in 1971, “music" did not die that day. It is more than unsettling that American Pie, McLean's terrible—and entirely too long of a—song, is what the hacky news sites reference on a day like this, the anniversary of the plane crash. But never fear, it happens every February 3rd. Diving into the McLean biography is more than a little unsettling as well. To wit: after his second divorce (from his wife of nearly 30 years) with accusations of abuse hanging over him, the now 77-year-old McLean took up with a “model and reality star” 48 years his junior. McLean still lives off the reputation of that crappy half-century-plus old song. Unfortunately, in my early twenties, I purchased some McLean music, but it was because it was a double-album of McLean's and Jim Croce's music. Croce was good, if not great. He also died in a tragic airplane crash. We wrote about Croce a while ago. https://briandoleary.substack.com/p/if-i-could-save-time-in-a-bottle Anyway, this is all a long way of saying, rock out to some Buddy Holly today, or sing along with “La Bamba,” or get a little “Chantilly Lace” pumping through the airwaves. Perhaps go with a doo-wop session of Dion and the Belmonts. “The Wanderer” by Dion when he went solo is also a great tune. There is never a bad day to play Waylon Jennings music or play it loud. I already listened to the horrible American Pie today. I can confirm that it is as bad as I remember and I feel like less of a man for not trusting my memory.   Links: Winter Dance Party Tour Schedule, 1959 Buddy Holly The Big Bopper Ritchie Valens Waylon Jennings Dion DiMucci Don McLean, 76, steps out with his model girlfriend Paris Dylan, 28, ahead of his performance at Manchester Bridgewater Hall Why the Beatles owe their success to the Comanche Indians   For your premium meats: O'Leary Beef   For all the rest of it, go to BrianDOLeary.com for more information.

Episode 250, 1958 My Way, presents Sam Waldron's unique take on popular music from this particular year. Performers include Elvis Presley, Tony Bennett, Dion and The Belmonts, k.d. lang, The New York All Stars, Connie... Read More The post Episode 250, 1958 My Way appeared first on Sam Waldron.

Host Nate Wilcox and Anthony Tusler of AboutDisability discuss the life and accomplishment's of America's foremost disabled songwriter. The discussion draws on the book Lonely Avenue: The Unlikely Life and Times of Doc Pomus by Alex Halberstadt and the film AKA Doc Pomus directed by Peter Miller and William Hechter. SAVE THE LET IT ROLL PODCAST We're over half-way to our goal to fund a year's worth of production on the Let It Roll podcast (that's 104 episodes)! The outpouring of support for the show has been really exciting to see. If you already gave, thanks so much! If you don't have the funds to give anything, no worries, enjoy the show. Click here to support the show Here's the link if you need to cut and paste: https://www.gofundme.com/f/keep-the-let-it-roll-podcast-alive Buy the book and support the show. Learn more about Anthony Tusler and AboutDisability. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Frank Rapkiewicz is a musician born and raised in Greenpoint, Brooklyn. He has been playing music, Guitar, Bass and Piano, for 50 years. He has worked with the likes of Dion and the Belmonts, Chuck Berry, and James Brown to name a few. He comes from a Broadcast Engineering background and has worked at Sony, NBC, CNN and Lifetime Television. He currently works in higher education and lives with his wife in Washington Heights.

On this episode of Daft Monks, the Nates address their year-long hiatus, artificial intelligence, and the future of the podcast. Belmont introduces Van Helsing to his family home, which apparently needs no introduction. Intro & Activity | The Nates discuss the ridiculous potential of AI and a series of avatars they created in an AI mobile app.Campaign | The Daft Monks return to Belmonts childhood home to better arm themselves for the fight against Dracula. Belmont works through family trauma, while Van Helsing makes himself quite comfortable.Instagram | Facebook | Twitter | TikTok | YouTube | TwitchThe story, all names, characters, and incidents portrayed in Daft Monks are fictitious. No identification with actual persons (living or deceased), places, buildings, characters and products is intended or should be inferred.

In Part 3 of our series on Castlevania, we talk about the reboot of the series, Lords of Shadow as we answer the age-old question:  Who would win a fight between Dracula and Satan?   Want to get podcast updates and other nonsense? Follow me on Twitter at www.twitter.com/ogfsn or check me out on Twitch at www.twitch.tv/onemoretimegfsn. Remember to like us and subscribe to us on your podcast platform of choice!  Leaving us reviews is also super helpful, and very much appreciated.

It's the ultimate non-spooky Halloween mixtape! Celebrate nearly 40 years of the Belmonts being haunted by vampires with the all-Vampire Killer Mixtape! 0:00:00 Intro (Feat. VAMPIRE KILLER - DJ FEILONG ORIENT EXPRESS VOCAL MIX from Dracula X Remixes) 0:06:25 Castlevania - Vampire Killer 0:07:24 Akumajo Dracula Best - Vampire Killer 0:08:24 Castlevania III: Dracula's Curse - Deja Vu - Vampire Killer 0:09:24 Akumajou Densetsu - Deja Vu - Vampire Killer 0:10:53 Super Castlevania 4 - Vampire Killer 0:11:54 Castlevania: Bloodlines - Vampire Killer (Classic Tune 3) 0:12:56 Dracula X - Vampire Hunter 0:14:02 Castlevania: Rondo of Blood - Vampire Killer 0:15:44 Castlevania (IBM PC/XT/AT) - Vampire Killer 0:16:46 Castlevania (C64) - Vampire Killer 0:17:50 Castlevania Chronicles - Vampire Killer ~Stage 1~ (X86K Version) 0:19:43 Contra: Hard Corps - Simon 1994RD 0:21:11 Castlevania Chronicles - Vampire Killer ~Stage 1~ (PSX Version) 0:24:38 Dracula Battle - Perfect Selection - Vampire Killer 0:28:05 Dance Dance Revolution UNIVERSE - Castlevania (Freestylin' Mix) 0:29:54 GuitarFreaksV6 & DrumManiaV6 - Vampire Killer 0:31:46 The NESkimos - Vampire Killer 0:35:18 Symphony of the Night - Vampire Killer (Remix 1) 0:38:46 Castlevania The Dracula X Chronicle (PSP) - Vampire Killer 0:43:08 Castlevania: Circle of the Moon - Vampire Killer 0:44:18 Castlevania: Harmony of Dissonance - VK2K2 (Vampire Killer 2002) 0:47:43 Castlevania - Dawn of Sorrow - Vampire Killer 0:49:20 Castlevania Judgment - Vampire Killer 0:52:26 Symphony of the Night - Vampire Killer (Remix 2) 0:55:04 Castlevania - The Adventure ReBirth - Vampire Killer [Stage 6] 0:56:04 Super Smash Bros. Ultimate - Vampire Killer 0:58:35 Super Bomberman R - Vampire Killer - R Arrange - 0:59:34 Sound Voltex Booth - Vampire Killer scar-ed Pf rmx 1:01:19 Perfect Selection Dracula - Vampire Killer 1:05:51 Dracula X Remixes - VAMPIRE KILLER Join us in Discord and at GameThatTune.club! Check out our Patreon page! Patreon.com/GameThatTune is the home for exclusive content! We've got GTT GEMS, MIXTAPES, all new MOVIE COMMENTARIES and more stuff in the works, so check out the page and consider supporting the show as we attempt to grow and create more great stuff! Special thanks to our ABSURD FAN tier Patreon producers: Lance Riviere, Damian Beckles, Bradford Stephens, Daniel Perkey, Taylor Y, Sam L, Grimmory, PhoenixTear2121, UnsaddledZebra, Aakadarr, and TheKerrigan! Check out our 24/7 VGM stream for a radio station featuring games we've used on the show! We've loaded up over 1,000 soundtracks in our stream and have more coming all the time! New episodes of Game That Tune record LIVE on Wednesdays at 9 PM EST on numerous platforms: YouTube Twitch Facebook The show takes podcast form and becomes available for download Tuesday mornings! Find it on Apple Podcasts or GameThatTune.com and enjoy! We always want to hear from you, especially if you have a request! Email us at GameThatTune@gmail.com, find us on Facebook or on our new social media platform GameThatTune.Club

In this episode, Alex and Michael finish the classic Castlevania series, starting with their first (and second!) 3D outings and finishing up with some of the best games they've ever made (with some of the dumbest stories ever told).   Want to get podcast updates and other nonsense? Follow me on Twitter at www.twitter.com/ogfsn or check me out on Twitch at www.twitch.tv/onemoretimegfsn. Remember to like us and subscribe to us on your podcast platform of choice!  Leaving us reviews is also super helpful, and very much appreciated.

Castlevania Transylmania will not stop!   The Raw Dogs are once again joined by Stoy from EXPCast to talk about the Belmonts awkward night after. They may have peaked, but the games kept coming.   In this episode, we talk about the last of the Metroid-vanias, mobile games, Wii fighters, and pachinko machines. And yes, we love a whole lot of some of them... Hair of the Dogcast is a proud member of the HyperX Podcast Network.  For more information check out podcast.hyperx.com! Contact Us: Twitter: @HOTDogcast Facebook: https://www.facebook.com/hairofthedogcast  Instagram: hairofthedogcast To see how you can support us and access a bunch of cool, exclusive perks, visit our Patreon page: https://www.patreon.com/hairofthedogcast We appreciate your support!

"Letting the days go by, let the water hold me downLetting the days go by, water flowing undergroundInto the blue again, into the silent waterUnder the rocks and stones, there is water undergroundLetting the days go by, let the water hold me downLetting the days go by, water flowing undergroundInto the blue again after the money's goneOnce in a lifetime, water flowing undergroundSame as it ever was, same as it ever was"In SoCal, water is perhaps our most precious commodity, please join me for a downpour of great tunes ".Joining us will be Danny & Dusty, Wishbone Ash, Dire Straits, The Regents, Chicago, Frank Sinatra, Soft Cell, Jan & Dean, Frankie Goes To Hollywood, The Shangri-Las, Dion & The Belmonts, Blondie, Dragon, David Gates, Spirit, Beach Boys, INXS, The Edsels, Donovan, Don Henley, The Exciters, Marcie Blaine, The Impalas, Run DMC, Stan Getz & Astrud Gilberto, The Chantels, The Cleftones and Talking Heads.

PBS, ABCI LOVE History of Vocals n Music, Rock & Roll/Soul & Today I Get to go Back BEFORE my Time on Earth in the Rock & Soul Chart Dial to an AWESOME vocalist in the Music Era. And with New Music From The Heart & a Single "After You". Larry also as a  New Jazz Album & a Single with Billy Vera.. And He's Got More Music, Concerts & TV Appearances Too.Larry Chance was the driving force behind the group's formation and success. Chance grew up in Philadelphia and attended high school with Chubby Checker, Frankie Avalon, and Danny Rapp of Danny & the Juniors. But it was not until 1957 that he moved with his parents to the Bronx after high school, that his musical career took off.Chance formed a group at the Tecumsa Social Club, known as the Hi-Hatters. The group was Chance, Bob Del Din, Eddie Harder, Larry Palombo and John Wray. Later, in 1961, the Earls lost their original member Larry Palombo in an army skydiving accident. In 1961, Rome released the Earls' first record – "Life is But a Dream" (Rome 101 – 1961)[2] b/w "It's You" (and in the late 1970s released with "Whoever You Are" as the B-side). The group then performed with Murray the K and on Dick Clark's American Bandstand show. They released another record that year, "Looking For My Baby" (Rome 102) b/w "Cross My Heart".In 1962, the group hooked up with Stan Vincent and recorded "Remember Then" for Old Town Records (Old Town 1130) b/w "Let's Waddle".[2] It was a hit, peaking at #24 on the US Billboard Hot 100 chart in 1963. Chance co-wrote the group's next single "Never" b/w "I Keep A-Tellin You" (Old Town 1133–1963). The group scored another hit in 1963 on Old Town with "Eyes" b/w "Look My Way" (Old Town 1141). Later, a demo "I Believe" was released (Old Town 1149–1963) b/w "Don't Forget".[2] "I Believe" became a much bigger record from the 1970s onward as it received heavy airplay on NYC oldies radio.Chance later had a brief solo career, recording "Let Them Talk". He returned to the Earls who, at that time, had two new members – Bob Moricco and Ronnie Calabrese. The group started playing their own instruments and, in 1967, recorded "If I Could Do It Over" b/w "Papa" (Mr. G 801 – 1967), and a track for ABC Records, "Its Been a Long Time Coming" b/w "In My Lonely Room" (ABC 11109–1967).The group continued performing into the 1970s and, in 1977, they released a disco version of The Velvets' "Tonight (Could Be the Night)." By 1983, the group's personnel were Chance, Ronnie Calabrese, Colon Rello, Bobby Tribuzio and Tony Obert, and they recorded Larry Chance and the Earls – Today.From 1989-1993, the group consisted of: Larry Chance, Bobby Tribuzzio, Bob Coleman, Art Loria (formerly of The Belmonts) and T.J. Barbella. This roster continued a busy performance schedule and studio works. In 1989, they were on Broadway performing in the original production of A Bronx Tale, a one man play by Chazz Palminteri. They recorded the theme song of the production "Streets of the Bronx", which was slated to appear on the soundtrack of the motion picture A Bronx Tale, however a different version of the song was eventually chosen. Two albums were released: Larry Chance and the Earls (Live!) and Earl Change. Another single released in 1989 was "Elvis:He's Alive", which was warmly received by critics and received a BMI Award of Recognition of a Musical Work. They were nominated as "Best Musical Act" in Atlantic City for their eight week run at The Claridge Hotel, starring with Sal Richards.LarryChanceandtheEarls.com© 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

This episode is in honor of my dual identities as a Mexican American, navigating a world that I was not considered American enough and another that did not consider me Mexican enough. To all my pochos and pochas, we are blazing a path in this world as best as we can. So here is a little history on Los Apson and Dion and The Belmonts, that so wonderfully represents both sides of my identities.  Half of this episode is recorded in Spanish, so no making fun of me.  Find me on instagram under Napalm Nanny and The Shack  1.  Ricky and The VaCels. Don't Want Your Love No More   2. Ronnie and The Satellites. Last Night I Dreamed   3. Sandra and The Highlanders. Written in the Stars   4. The Dolls. Just Before You Leave   5. Jesse Belvin with the Laurels. (This is my) Love song   6. The Belmonts. Smoke From Your Cigarette   7. Vala Quons. Teardrops   8. De-Lights. I'm Comin' Home   9. Los Apson. Cuando Fue un Jovencito     Background: Hugh Masekela. Grazing in the Grass

Whilst you may have laboured under the misapprehension that the pen was a mere writing implement, in the world of movies it can do so much more. Mainly kill people according to our research. Will we find any benevolent biros when we discuss our Top 5 Movie Pens? LOVE & MERCY alternates between two key time periods in the life of The Beach Boys singer songwriter Brian Wilson, the 1960s and late 1980s, showing how he got into and out of a period of prolonged mental illness which occurred during the production, release, and reception of the critically adored but initially commercially disastrous PET SOUNDS album. A sensitive portrayal sees Paul Dano and John Cusack playing Wilson in the different time periods with his overbearing father and the monstrous psychiatrist Dr Eugene Landy as the abusers in his life and Elizabeth Banks as Melinda Ledbitter, the woman who eventually became his wife and freed him from his pharmaceutical prison. An extraordinary biopic causing one Bad Dad to reappraise Wilson as a serious artist as we see how he transcended his influences, combining the rock and or roll of Chuck Berry, the vocal harmonies of The Belmonts, the Spector Wall of Sound and surf guitar riffs to create a new sound that took the world by storm and continues to captivate now. Toy making genius Jimmy DiResta helms the Netflix series MAKING FUN in which his posse of impossibly bearded friends make improbably stupid objects for children just for the sheer hell of it. To show kids if they can dream it up, it can be built. As inspirational as all that sounds don't be fooled that Jimmy is a fan of kids, he most definitely isn't. In fact he dislikes them almost as much as he dislikes safety goggles. Burn! This week the team make a pair of Unicornicycles and just like in any real project the idiot customer changes their mind halfway through and adds a completely new requirement, in this case for the bikes to be able to fart glitter which is no worse than anything I have come across in the work place.We love to hear from our listeners! By which I mean we tolerate it. Try us on twitter @dads_film, on Facebook Bad Dads Film Review or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Phil and Jake are rank the 1983 fictional band biopic Eddie and the Cruisers, the 1999 Latin pop hit “Mambo No. 5 (A Little Bit of…)” by Lou Bega, and  being possessed on the List of Every Damn Thing.If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook).SHOW NOTES: Jake and Phil are always on the grind trying to make money while they sleep, trying to monetize, etc. Just the most craven shit you can imagine. Pod-Bucks are how Phil and Jake get paid for making this podcast. A Pod-Buck is kind of like a No-Prize but without the envelope. Actors that we discuss include Tom Berenger, Ellen Barkin, Joe Pantoliano, James Franco, Michael Paré, Rick Springfield, Gary Oldman, Dan Aykroyd and Bob Saget. Many musical acts come up during the episode, such as Bruce Springsteen, Dion and the Belmonts, My Chemical Romance, Damaso Perez Prado, Aerosmith, Ice Cube, Spinderella, Bell Biv Devoe and Chris Gaines.  We talk about how The Doors were used as an inspiration for Eddie and the Cruisers, but we fail to draw the connection that there were also rumors about Jim Morrison faking his death. Songs discussed include  “On the Dark Side” by John Cafferty (which is from the movie), “Quarter to Three” by Gary U.S. Bonds (maybe Phil's favorite song of the 20th century), “Project Chick” by Cash Money Millionaires, “Kokomo” by the Beach Boys, “Girls Just Wanna Have Fun” by Cindi Lauper and “Do You Know the Way to San Jose” by Dione Warwick. Phil mentions a song from the movie called “Special Touch” but the actual name of the song is “Down On My Knees” (also by John Cafferty). Phil's right when he says it sounds like “Hurts So Good” by John Mellencamp. Other movies discussed include That Thing You Do!, West Is West, Streets of Fire, Jersey Boys, The Fabulous Baker Boys, Howard the Duck, Caddyshack, The Matrix, The Truman Show, Drumline, E.T. the Extra-Terrestrial, The Exorcist, All of Me, Ghost, Ghost Rider, Ghostbusters, Evil Dead 2, Repossessed, R.I.P.D., The Frighteners and of course Eddie and the Cruisers II: Eddie Lives! Streets of Rage is the arcade game Phil mentioned that uses the common trope of a power up of a whole roast chicken that makes the player regain his health. The Palace of Depression was a real place in Vineland, New Jersey. Jake claims that Eddie and the Cruisers used the actual site as a shooting location, though the internet implies that it was razed in 1969 so maybe the one from the movie was a recreation. Jake calls meals_by_cug a Jersey guy but it looks like he's from Staten Island. We refer to our episode featuring Dave Hause, in which we go over Dave's USA Today piece about Taylor Swift and master tapes. Here's the scene from The Simpsons where Bart tries to buy a novelty license plate. Brian WIlson had a nervous breakdown when he heard the Beatles' Revolver. Sleep paralysis is the worst. Jake cites Scottish folklore that attributes it to a witch sitting on your chest. We couldn't trace the story to Scotland, but we did discover the night hag, which isn't too far off the mark. We don't actually get into the movie, but Silverado is an 80s neo-traditional Western by Lawrence Kasdan with a stacked cast that Phil's never seen, and is the one movie that Phil will never be invited over to Jake's house to watch. ALSO DISCUSSED IN THIS EPISODE:Watchmen TV series * jeggings * L'Eggs * Arthur Rimbaud * the Jersey Shore * music biopics * Martin Davidson * Boomers * leather jackets * junkyards * Star Wars * movie tropes * “Macho Man” Randy Savage * mini-trucks * eggs * the national debt * Crocs * ghosts * seizures * zipper jeans worn with no underwear * public humiliation * speed limits * Hulk HoganBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here).TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea bicycles - tool coffee - beverage Clement Street in San Francisco - location Prince - person It's-It - food Doctor Doom - fictional character Cher - person BOTTOM TEN:257. Jon Voight - person258. Hank Williams, Jr - person259. British Royal Family - institution260. Steven Seagal - person261. McRib - food262. death - idea263. war - idea264. cigarettes - drug265. QAnon - idea266. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan, with audio help from Luke Janela. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net. 

Don't look now, but we're finally back to record the "D" episode, which has been the thorn in our side and bane of our existence for awhile now. Curse be damned, we get into it with offerings from Dashboard Confessional, and Dion & The Belmonts. The Spotify playlist, to listen along, is here: https://open.spotify.com/playlist/1jvsreX2t4SAgBVVskzMpV?si=28l1nr2YTdavYopgDw6pOA The songs, in the order they were discussed: Dashboard Confessional - "Don't Wait" Dashboard Confessional - "So Long, So Long" Dashboard Confessional - "Hands Down" Dashboard Confessional - "Vindicated" Dashboard Confessional - "This Bitter Pill" Dion & The Belmonts - "I Wonder Why" Dion & The Belmonts - "Wonderful Girl" Dion & The Belmonts - "Runaround Sue" Dion & The Belmonts - "Dream Lover" Dion & The Belmonts - "The Wanderer" Want some File Under: Entertainment swag to show that you are a member of the Filing Crew? (Filies....?) Whatever you want to be called, get the merch here: http://file-under-entertainment-shop.launchcart.store/shop?page=1 You can e-mail us at FileUnderPod@gmail.com, follow us on Twitter @FileUnderPod, and TikTok @fileunderpod. Until next time, do the Dew.

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I Got You Babe" by Sonny and Cher. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: 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. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

Between the third season of the Netflix show and the mobile release of Symphony of the Night, it's a good time to be a Castlevania fan – so to celebrate, we grabbed friend of the show Greg Moore for a look back at five of the best Castlevanias whose stars weren't whip-wielding Belmonts. Then it's time to dive into Ori and the Will of the Wisps, Call of Duty: Warzone, the most shocking E3 announcement in years, and your nominees for President and VP of videogames.