Podcast appearances and mentions of Bernie Leadon

Echoes of the trajectory of the Beatles still reverberate through music today, and they loomed quite large over the rock scene in the early 70's.  In 1972 a bootleg 4-album set of Beatles songs was produced called "Alpha Omega" which sold well when marketed on TV.  In response - in addition to suing - Apple and EMI/Capitol Records produced an authorized collection in two double albums.  The first was called 1962-1966, also known as the Red Album, while the second was called 1967-1970, also known as the Blue Album.    The Blue Album was a compilation of Lennon-McCartney original songs, avoiding many of the successful cover songs the early group had recorded.  Unfortunately it also did not contain any George Harrison compositions from this time period.  The Red Album did not contain any covers, as the Beatles were immensely popular on their own by this time.  However, it did contain songs from George Harrison and Ringo Starr along with the numerous Lennon-McCartney originals.The album covers are notable, as they are similar photos of the group at different points in life.  The cover to the Red Album used an image of the group looking down over the stairwell inside EMI's London headquarters.  This was a photograph taken for the group's 1963 debut LP.  The Beatles had recreated that shot in 1969 for their planned "Get Back" album, but did not use the image when the album was released in 1970 as "Let It Be."The compilation project was a success, and convinced other groups to release similar retrospective compilations.  It is also a terrific way to see the progression of the band in seven short years of their activity.  WSB Radio's Eric Von Haessler joins us to highlight these two influential albums in this week's podcast. Love Me DoThe very first single released by the Beatles was this track and the lead-off track from the Red album.  John Lennon and Paul McCartney provide duet vocals on this song, and Lennon is the harmonica player.  While it is credited as a Lennon-McCartney song, John Lennon provides the bridge, and has stated that it was a McCartney song before they began working together.Tomorrow Never KnowsThe concluding track from "Revolver" is the concluding track for the Red album, and shows how far the Beatles have taken their music in four short years.  They are utilizing techniques like looped drums, reverse guitar, and processed vocals that were new to the music scene at the time.Strawberry Fields ForeverThis track opens the blue album.  The inspiration for this song was a park in which Lennon played as a child, and evokes a childlike innocence.  The music style was a departure from the Beatles' previous style, and is considered the introduction of the psychedelic genre.Let It BeA profound piece after the psychedelic period, "Let It Be" is often considered the swan song for the Beatles, because it was the final single released before McCartney announced his intention to leave the band.  The  inspiration of the song was a dream Paul McCartney had about his mother. ENTERTAINMENT TRACK:Knocking on Heaven's Door by Bob Dylan (from the motion picture “Pat Garrett and Billy the Kid”)This western movie had a revisionist history and starred a number of celebrities, including James Coburn, Kris Kristofferson, and Bob Dylan himself.  STAFF PICKS:Kodachrome by Paul SimonBruce starts out the staff picks with the lead single from Simon's third studio album "There Goes Rymin' Simon." While it did well in the US, it received little airplay in the UK due to strict rules the BBC had in place regarding product endorsements.  The idea of the song is that we fit our memories to our worldviews like we frame shots in a camera.Money by Pink FloydRob brings us the lead single from the monster album "Dark Side of the Moon."  A rare song in 7/4 time with a 4/4 guitar bridge, the lyrics describe the desire and material trappings that cause people to chase after riches. Peaceful Easy Feeling by the EaglesLynch features an iconic song from the Eagles.  It was written long before this time by Jack Tempchen, a prolific singer-songwriter, but appeared on the Eagles debut album. Glen Frey is on lead vocals, and the harmonies are provided by Bernie Leadon and Randy Meisner. Right Place, Wrong TIme by Dr. John Eric finishes the staff picks with a funky tune from New Orleans-influenced Dr. John.  It was the first single from "In the Right Place," Dr. John's sixth studio album, and was also his biggest commercial hit, reaching number 9 on the Billboard Hot 100. COMEDY TRACK:The Cover of "Rolling Stone" by Dr. Hook & the Medicine ShowWayne presents the comedy single this week, as Dr. Hook seeks validation by appearing on the cover of Rolling Stone magazine. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Send us a textThis week, we dive into the first 3 albums from the greatest American rock band of the 1970's! Def Dave, Mike Vermillion, and Dayton share opinions on these albums. Playlisthttps://open.spotify.com/playlist/6NvGPwdaV6bXsXfJRzkHiL?si=HaeQcaoTQ0qrwX7k5Pj8kg&pi=Du0ZvSOcR_GhbTwitter @dockingbay77podFacebook @dockingbay77podcastdockingbay77podcast@gmail.compatreon.com/dockingbay77podcasthttps://discord.gg/T8Nt3YB7

Musicoterapia. O cómo aliviar la pena ante la pérdida, el dolor, la rabia, la tristeza más profunda. Cada cual elige la música que mejor le sienta en las horas más bajas. Uno puede descargar toda la rabia con los sonidos más estridentes a todo volumen. Yo prefiero músicas que me amansen, relajen, que me conecten conmigo en estado de calma, de paz y también las que animen sin aspavientos, canciones soleadas que alegren el corazón sin exasperar. Del “¡Eureka!” a “Alone Again”… Naturalmente. Fucking summer!  DISCO 1 CHISHOLM & SPENCE You Can’t Get Near Enough To The One you Love (CARA A)  DISCO 2 GILBERT 0’SULLIVAN Alone Again (Naturally) ( ) DISCO 3 ANKLI Poca Suerte (ESCA) DISCO 4 PREFAB SPROUT When Love Breaks Down (2) DISCO 5 RY COODER The Way We Make A Broken Heart (6) DISCO 6 LINDA RONSTADT Lose Again (1) DISCO 7 LEAH KUNKEL Losing In love Again (11)  DISCO 8 CAT STEVENS The Hurt (2) DISCO 9 LIGHTNIN’ HOPKINS Broken Hearted Blues (4) DISCO 10 VICTORIA WILLIAMS What A Wonderful World (8)  DISCO 11 CHRISTOPHER CROSS Never Be The Same (4) DISCO 12 LITUS & NINA DE JUAN & PABLO NOVOA Eureka (1 ) DISCO 13 BERNIE LEADON & MICHAEL GEORGIADES You’re The Singer /Cara 1 Corte último)  DISCO 14 PILAR ONARES Summers, Uno entre Cien (ESCA) Escuchar audio

The MOJO Record Club with Richard Hawley Richard Hawley takes The MOJO Record Club on a journey from the mean streets of Sheffield to the bluegrass badlands of Dillard & Clark, via detours to the Lincolnshire Riviera and Asteroid City. What was Scott Walker better at – pool or darts?Tracklisting:1. Richard Hawley ‘Prism In Jeans', written by Richard Hawley and released on BMG Records2. Richard Hawley, ‘Hear That Lonesome Whistle Blow', written by Richard Hawley and released on BMG Records3. Dillard and Clark, ‘Train Leaves Here This Mornin', written by Gene Clark and Bernie Leadon, released on A&M Records

The original band was formed in 1968 in Los Angeles as The Flying Burrito Brothers.  Its classic lineup featured country rock pioneer, the late Gram Parsons, and former founding Byrds members bassist Chris Hillman and drummer Michael Clarke, along with eventual original Eagles member Bernie Leadon on lead guitar and pedal steel guitar genius Sneaky Pete Kleinow. The band's first two albums, The Gilded Palace of Sin (which Rolling Stone listed at number 192 on its list of 500 Greatest Albums of All Time) and Burrito Deluxe, remain highly influential, acclaimed works which helped put country-rock on the map.  Because Parsons and Keith Richards were good friends, Burrito Deluxe contains the first issued version of the Mick Jagger/Keith Richards-written song "Wild Horses," released almost a year before the The Rolling Stones own take on it appeared on Sticky Fingers.  These days, the band, who formed the current incarnation of the Burritos in 2009, and are now based in Nashville, features Chris P. James on keys and lead vocals, guitarist Steve Allen, Tony Paoletta on pedal steel and drummer Peter Young…all extremely talented musicians who love being involved with the band's legacy and creating new music to keep that legacy alive. Chris, Tony, and Pete have played together since the 1990 starting together in the band Mr. Hyde. They know each other's musical moves every which way possible. This band is tuned in, turned on, upbeat and loaded with great songwriting and musicianship. These guys are truly “brothers.” Steve Allen has got the guitar thing going strong with benders and 12-strings and telecasters and acoustics He also plays.  A mean bass. “Smiling” Tony Paoletta is a truly gifted pedal steel player. He's fully versed in the Sneaky Pete oeuvre. And, essentially, every other steel player who came before him. Tony brings unlimited creativity to the table. His admirers are legion. Peter Young is a consummate drummer. The familiarity these fellows have with each other's musicianship is near-perfect. Everything's fine cuz Pete's holdin' down the time. Been doing it a long, long while. In various combinations, these guys have recorded more sessions together than you could count. Pete sings a real nice harmony too. And Chris P. James is their front man. He plays keyboards and guitar and harmonica. Writes songs too. He wound up with the Burrito Brothers in 2009. He was offered a record deal to make a new album in 2010 by the group that would trademark and continue as The Burrito Brothers. Or he could decline. What kind of choice is that? Of course, The Burrito Brothers are alive! And that is definitely a good, good thing. They continue to carry the torch via the Together release, which features superb musicianship, tight ensemble playing, beautiful harmonies and excellent songwriting. The album features 10 new, tracks that continue in the Burrito's longstanding musical tradition while forging ahead in the present and towards the future.  Track Listing: 1.Ms Misery / 2. Mr. Customs Man / 3. Together / 4. I Find Love / 5. Let Go / 6. Blood On His Hands / 7. Boiling Point / 8. Streets Of Santa Rosa /  9. I Live For Loving You / 10. History Suite Will James from Gram Parsons International says, ““This latest incarnation is the closest to the original FBB sound of all of the previous bands.” Gram Parsons said it best…The idea'll keep going on. It's not like it's dead or anything. Whether I do it or anybody else does it, it's got to keep going."    Please use the following links below to access all things The Burrito Brothers including photos, bio, and a discography. The Burrito Brothers website:  www.TheBurritoBrothers.net Learn more about your ad choices. Visit megaphone.fm/adchoices

The original band was formed in 1968 in Los Angeles as The Flying Burrito Brothers.  Its classic lineup featured country rock pioneer, the late Gram Parsons, and former founding Byrds members bassist Chris Hillman and drummer Michael Clarke, along with eventual original Eagles member Bernie Leadon on lead guitar and pedal steel guitar genius Sneaky Pete Kleinow. The band's first two albums, The Gilded Palace of Sin (which Rolling Stone listed at number 192 on its list of 500 Greatest Albums of All Time) and Burrito Deluxe, remain highly influential, acclaimed works which helped put country-rock on the map.  Because Parsons and Keith Richards were good friends, Burrito Deluxe contains the first issued version of the Mick Jagger/Keith Richards-written song "Wild Horses," released almost a year before the The Rolling Stones own take on it appeared on Sticky Fingers.  These days, the band, who formed the current incarnation of the Burritos in 2009, and are now based in Nashville, features Chris P. James on keys and lead vocals, guitarist Steve Allen, Tony Paoletta on pedal steel and drummer Peter Young…all extremely talented musicians who love being involved with the band's legacy and creating new music to keep that legacy alive. Chris, Tony, and Pete have played together since the 1990 starting together in the band Mr. Hyde. They know each other's musical moves every which way possible. This band is tuned in, turned on, upbeat and loaded with great songwriting and musicianship. These guys are truly “brothers.” Steve Allen has got the guitar thing going strong with benders and 12-strings and telecasters and acoustics He also plays.  A mean bass. “Smiling” Tony Paoletta is a truly gifted pedal steel player. He's fully versed in the Sneaky Pete oeuvre. And, essentially, every other steel player who came before him. Tony brings unlimited creativity to the table. His admirers are legion. Peter Young is a consummate drummer. The familiarity these fellows have with each other's musicianship is near-perfect. Everything's fine cuz Pete's holdin' down the time. Been doing it a long, long while. In various combinations, these guys have recorded more sessions together than you could count. Pete sings a real nice harmony too. And Chris P. James is their front man. He plays keyboards and guitar and harmonica. Writes songs too. He wound up with the Burrito Brothers in 2009. He was offered a record deal to make a new album in 2010 by the group that would trademark and continue as The Burrito Brothers. Or he could decline. What kind of choice is that? Of course, The Burrito Brothers are alive! And that is definitely a good, good thing. They continue to carry the torch via the Together release, which features superb musicianship, tight ensemble playing, beautiful harmonies and excellent songwriting. The album features 10 new, tracks that continue in the Burrito's longstanding musical tradition while forging ahead in the present and towards the future.  Track Listing: 1.Ms Misery / 2. Mr. Customs Man / 3. Together / 4. I Find Love / 5. Let Go / 6. Blood On His Hands / 7. Boiling Point / 8. Streets Of Santa Rosa /  9. I Live For Loving You / 10. History Suite Will James from Gram Parsons International says, ““This latest incarnation is the closest to the original FBB sound of all of the previous bands.” Gram Parsons said it best…The idea'll keep going on. It's not like it's dead or anything. Whether I do it or anybody else does it, it's got to keep going."    Please use the following links below to access all things The Burrito Brothers including photos, bio, and a discography. The Burrito Brothers website:  www.TheBurritoBrothers.net Learn more about your ad choices. Visit megaphone.fm/adchoices

Linda Ronstadt's fifth solo studio album would be her breakout one.  Heart Like a Wheel is a folk/country/rock mixture of covers and originals, and was the last album Ronstadt released on the Capitol Records label after she had moved to Asylum records.  It would reach the top of the Billboard 200, spend 51 weeks on the chart, and fuel Ronstadt's rise to the first "arena class" female rock star.Linda Maria Ronstadt is the third of four children born to a family of Mexican and German descent and a long history in Arizona.  Her professional start is considered to be the folk rock trio called the Stone Poneys, who had a hit in 1968 with the song "Different Drum."  Ronstadt is famous for touring in the early 70's with a backing band that included Don Henley, Glenn Frey, Bernie Leadon, and Randy Meisner - artists who would go on to form the Eagles.  Her four earlier albums produced only moderate success before her fortune turned dramatically upward with "Heart Like a Wheel."While Ronstadt's style is often referred to as country rock, she called it "Mexican bluegrass" in 1968.  Over time she would record songs in a variety of styles from rock to folk and country, including some Spanish language songs and even rock songs reimagined as lullabies.  Her ability to cross genres contributed both to her success and her share of criticism from those expecting something different.  Success did not always agree with her, as she felt she was encouraged to project a tough rock image that did not accurately reflect her true self.  Linda Ronstadt was inducted into the Rock and Roll Hall of Fame in 2014, shortly after her retirement from music in 2011.Bruce presents this breakthrough country rock album in this week's podcast. I Can't Help It (If I'm Still in Love with You)This cover was originally written and recorded by Hank Williams back in 1951.  It went to number 2 on the Billboard country singles chart back then.  A bunch of people have covered this song, but Ronstadt's cover is the most successful, going to number 2 on the Billboard Hot Country Singles chart and winning her a Grammy in 1976 for Best Female Country Vocal Performance.You're No GoodThe first single released from the album went to number 1 on the Billboard Hot 100.  It is a cover of a song written by Clint Ballard Jr. and first performed by Dee Dee Warwick in 1963.  The success of this "glad to be broken up" song would set the template for Ronstadt over the next five years of doing remakes of classic rock and roll songs.Faithless LoveAn original recording rather than a cover, this deeper cut was written by J.D. Souther, who wrote or co-wrote songs for both Ronstadt and the Eagles.  It would hit number 10 on the Billboard Hot Country Songs chart when Glen Campbell covered it in 1984. Willin'This song was first performed by Little Feat and was written by their front man, Lowell George.  Ronstadt's cover was used in James Cameron's film "The Abyss" in 1989.  Lowell wrote this song while he was a member of the Mothers of Invention. ENTERTAINMENT TRACK:Dance of the Reed Flutes (from the nature documentary "Animals Are Beautiful People")In addition to its frequent use in the Christmas ballet "The Nutcracker," this piece was also used in the nature documentary STAFF PICKS:Whatever Gets You Through the Night by John LennonLynch kicks off the staff picks with a song originally inspired by Lennon's habit of late night channel surfing.  He caught the phrase from Reverend Ike, an evangelist on TV, and turned it into this song.  It went to number 1 on the Billboard Hot 100.  Lennon got Elton John to provide the vocal duet for this song, and in return Lennon appeared onstage with John during his Thanksgiving concert at Madison Square Garden - one of his last major live appearances.I Can Help  by Billy SwanWayne brings us a song we all thought was performed by Ringo Starr.  Billy Swan was better known as a country songwriter than a solo artist, but this single would be his sole number 1 hit.  It is a particularly positive song, with a nice reprise at the end of the album cut.Must of Got Lost by the J. Geils Band Rob features an early hit from the J. Geils Band, reaching number 12 on the charts.  It has a funky hook, and a grammatically incorrect title, with lyrics that explore why a relationship went wrong.Wishing You Were Here by ChicagoBruce closes out the staff picks with a song off the Chicago VI album.  Chicago gets some assistance from the Beach Boys, who contribute to the backing vocals on this song about missing the one you love while on the road with a touring band. COMEDY TRACK:Wildwood Weed by Jim StaffordWe finish off with a story in song about that whacky tobackey in a country setting

The band was formed in 1968 in Los Angeles as The Flying Burrito Brothers.  Its classic lineup featured country rock pioneer, the late Gram Parsons, and former founding Byrds members bassist Chris Hillman and drummer Michael Clarke, along with eventual original Eagles member Bernie Leadon on lead guitar and pedal steel guitar genius Sneaky Pete Kleinow.The band's first two albums, The Gilded Palace of Sin (which Rolling Stone listed at number 192 on its list of 500 Greatest Albums of All Time) and Burrito Deluxe, remain highly influential, acclaimed works which helped put country-rock on the map.  Because Parsons and Keith Richards were good friends, Burrito Deluxe contains the first issued version of the Mick Jagger/Keith Richards-written song "Wild Horses," released almost a year before the The Rolling Stones own take on it appeared on Sticky Fingers.The band has churned through countless members over the years (including many ex-members who have attained success over the years on their own in big-name bands) but has continued to keep the Burritos name and legacy alive by touring and recording under various Burritos-styled names over the decades.These days, the band, now based in Nashville, features Chris P. James (who's been involved with the band since 2009), guitarist Steve Allen, Tony Paoletta on pedal steel and drummer Peter Young…all extremely talented musicians who love being involved with the band's legacy and creating new music to keep that legacy alive.The current lineup has continued for over a decade to carry the Burrito Brothers torch via the Christmas release, which features the band's trademark tight ensemble playing, beautiful harmonies, excellent songwriting, and the ability to turn other artist's songs into their own.To learn more about The Burrito Brothers, or to purchase their new album entitled CHRISTMAS, click here https://www.theburritobrothers.net/ Support the showVisit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire https://www.bonfire.com/store/creative-peacemeal/Redbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate Dachshund Rescue of Houston here Interested in Corrie Legge's content planner? Click here to order! Looking for custom orthotics? Foot and Shoe Solutions is your answer. Click here for more.

Paul Cimins interviews Mitch Malloy, an American singer, best known as the former lead vocalist for the rock band Great White from 2018 to 2022. Malloy studied music at Cornish College of the Arts in Seattle, Washington. He got his first break when he was signed to RCA. Malloy's self-titled first album featured session musicians such as Mickey Curry, Hugh McDonald and Michael Thompson.[1] His first single as a solo artist on RCA records, "Anything At All", was a top 20 rock charting hit and a pop hit in the US.[5] His third single, "Our Love Will Never Die", earned him an appearance on The Tonight Show with Jay Leno.[1] His second album, Ceilings And Walls, featured guest musicians such as Bernie Leadon, Mike Rutherford and Paul Carrack.[6] He auditioned to be the singer of hard rock band Van Halen after Sammy Hagar's departure.[7][8][9] Malloy recorded various demos with the band, and Eddie Van Halen gave Malloy an instrumental demo to use for his own endeavors. This song was released by Malloy in 2015 as "It's the Right Time".[10]The riff reemerged in the sessions leading up to Van Halen's 1998 studio album Van Halen III in the song "That's Why I Love You." The song was scrapped from the record in favor of "Josephina."[11] Malloy has had a lengthy career featuring in various bands as lead singer, releasing solo albums, and making guest appearances as well. His latest album marks his first time completing an entire release all on his own.[12] Visit  his website to learn more about him. www.mitchmalloy.com     

To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comBernie Leadon played guitar, mandolin, banjo, pedal steel, and sang harmony vocals on the greatest-selling album of all time, Eagles Greatest Hits, Volume 1. For many guitarists, he is known as one of the earliest exponents of the B-Bender, a mechanical device that allows the "B" string to be raised a whole step via a system of cranks and levers. His work on "Peaceful Easy Feeling" is an excellent example of the sound the device allows and is by far the most accessible and most often heard example of a guitarist using it.  Today we take a look at Leadon's work through the years, spotlight some of his session work, and discuss his original Pull-String equipped Telecaster. We also cover how he ended up on the History of the Eagles tour, and the spartan setup that he used for the 170 dates back out on the road with his old band.Buddy Emmons book - Amazon Affiliate link  https://amzn.to/3zHaqfyBernie Leadon Playlisthttps://open.spotify.com/playlist/72M...Gear Used:Crook Paisley with Glaser B-Bender1959 Harvard ampBoss CS3 comp, MXR Reverb, MXR LooperBass - Danelectro Bass 6Rhythm - Baxendale Kay Mandocello#askzac #bernieleadon #eaglesbandSupport the show

If you would like to donate to "Rock History Music" https://www.paypal.com/donate/?hosted_button_id=VB2DNTLWAK8RNJoin our Patreon to get early access to our videos https://www.patreon.com/RockHistoryChannelsHELP SUPPORT ROCK HISTORY MUSIC..CHECK OUT OUR STORE FOR T-SHIRTS, MUGS ETC https://rock-history-music-store.creator-spring.comOur Instagram account https://www.instagram.com/rockhistorymusic/?hl=enCHECK OUT OUR TIKTOK CHANNEL https://www.tiktok.com/@johnbeaudin80Check out the ‘Rock History Book' PodcastSpotify - https://open.spotify.com/show/0LYdVTfmXN5khxXor8TzPg?si=9OY8tLroRJ6iVgGeUwe6yAiHeart “Rock History Music” Podcast https://www.iheart.com/podcast/269-rock-history-book-80154771/Tune-In “Rock History Music” Podcast https://tunein.com/podcasts/p1419168/Our Apple Podcast Apple Podcast https://podcasts.apple.com/ca/podcast/rock-history-book/id1560259111We have 3 active channelsRock History Music - https://www.youtube.com/channel/UChUv5CZuAuh08DfHA8klNSARock History Book - https://www.youtube.com/channel/UCDKUUfqq_iuwk63pZEUOTIQRock History Canada - https://www.youtube.com/channel/UCFpz17zDi5ShOVQBiNZV8xASupport the show

Episode 49: ‘Hotel California' - Eagles (1976) ‘Pretty Songs All In A Row'In the spirit of the Bicentennial celebrations happening across America through the 70s - culminating in a 4th of July celebration in 1976 - the Eagles felt obliged to write an album that celebrated, criticised, embraced and challenged their American culture and heritage. With founding member and principal country enthusiast Bernie Leadon departing, the band agreed to move away from their signature Country Rock sound and new member Joe Walsh joined and brought with him more Rock focussed riffs which would shape this classic album! Episode Playlist: https://open.spotify.com/playlist/7cAoYyAq460onq2gLZBqkT?si=zIv_Md3ATAu4BAHcq0Se9gHotel California - Big Lebowski Cover: https://youtu.be/D02q4Ol3XrUHotel California - Live 1994: https://youtu.be/2zA09VYs5DwLONG LIVE ROCK ‘N' ROLL - Follow the Podcast on Social Media: https://linktr.ee/longlivernrpod - Get in touch and/or leave us a review: longliverocknrollpodcast@gmail.com - Podcast Music by GeriArt, NaturesEye, astrofreq, Twisterium from Pixabay - Podcast Art by Ross Davidson (@ross_feelshame)

To Support the Channel:Tip jar:  https://paypal.me/AskZacOr check out my store at  - www.askzac.comFor my 50th episode, I take a look at the guitar reference books that have influenced me the most. I also continue my lick of the week showing some of Joe Walsh's faux steel licks he used in a recent concert with the Eagles on "Peaceful Easy Feeling." Some of the licks Joe used are variations of Bernie Leadon's guitar parts on the original recording.1. The Guitar Book, by Tom Wheeler 2. The Fender Telecaster by A.R. Duchossoir 3. Fender: The Sound Heard Round The World by Richard Smith 4. The Beauty of the Burst 5. The Blackguard Book: Nacho still has a few copies, but the prices are even higher than I stated in the video. Since my purchase of one a couple years ago, they have risen to $250. You can reach Nacho here: info(at)nachoguitars.comHonorary mention: Arlen Roth's Complete Electric Guitar Gear Used:2014 Crook Custom Vintage Paisley with Adder Neck, and underwound Florance TE60http://www.crookcustomguitars.com/Pick:Blue Chip TPR 35 RB Strings: Ernie Ball 10,13,15, 24, 32, 42. Nickel-Plated Steel.Amp:1967 Deluxe Reverb amp with Celestion V30 speakerEffects used:TC PolytuneMirage compressor pedalLine 6 Echo Park9v power via Truetone CS6 #askzac #guitartech #telecasterSupport the show

Hotel California Review by William Ruhlmann The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of "classic rock," music appropriate for the arenas and stadiums the band was playing. The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever. --- Send in a voice message: https://anchor.fm/comics-in-motion-podcast/message

The Round Of 32: where the choices get tougher and the cheeses get lonelier. We're writing Back To The Future/Babybel fan-fic, analyzing palimpsest layers, appreciating Bobby Darin's interpretive skills (and apologizing to Jerry Orbach), and wondering who's going to do a better job of seducing Sarah, Mrs. Robinson or Toto. What song is a red-wine drunk? Who burned off their eyelashes in seventh grade? We're looking for answers -- and half of the ROTYS Sweet 16. Our intro is by Andrew Byrne, and our outro is by Harry Styles. For more information/to become a patron of the show, visit patreon.com/mastas. SHOW NOTES Not sure what's going on? ROTYS Episode 1 SDB meant Timothy B. Schmit and Bernie Leadon...and it turns out that solo is neither of them! Great work, no notes Sometimes When We Touch on Paramount+ Jerry Orbach on "Try To Remember"

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

On this episode, we venture back to The Wild West! Plus, soundbites from Paul McCartney, Bernie Leadon, James Taylor, and more. For additional information on the show, visit reelinwithryan.com

Artistas de nueva generación - Cigarettes After Sex, William Beckmann, Emily Wells, Molly Tuttle - combinados con solistas y bandas de los mejores días del country-rock y afines: Eagles, Poco, Ozark Mountain Daredevils o Pousette -Dart Band. DISCO 1 CIGARETTES AFTER SEX Heavenly (BART - 12)  DISCO 2 WILLIAM BECKMANN In The Dark (BART - 11) Avanzado 45 segs DISCO 3 BART DAVENPORT Easy Listeners (4) DISCO 4 BERNIE LEADON & MICHAEL GEORGIADES BAND The Sparrow (8) DISCO 5 EAGLES Try And Love Again (8) DISCO 6 TIMOTHY B. SCHMIDT Simple Man (BART - 4) DISCO 7 POCO Staring At the Sky (8) DISCO 8 Pictures (2)  DISCO 9 EMILY WELLS Blood Brother (BART - 17)  DISCO 10 THE OZARK MOUNTAIN DAREDEVILS It’s How You Think (8) DISCO 11 JAMES TAYLOR You Can Close Your Eyes (8)  DISCO 12 MOLLY TUTTLE & GOLDEN HIGHWAY & GILLIAN WELCH Side Saddle (12)  DISCO 13 POUSETTE-DART BAND Amnesia (12)  Escuchar audio

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1439749737243021314 CW: Suicide, Rape It's a Witchy Woman Week on Pod Sematary! Chris & Kelsey start their own covens of warlocks and witches (respectively) and determine whether women were an accident or were inflicted upon the world intentionally. The Classic Film: The Witches of Eastwick (1987) "Three single women in a picturesque village have their wishes granted, at a cost, when a mysterious and flamboyant man arrives in their lives” (IMDb.com). This silly comedy-horror is a lot of fun on its face, but it also surfaces some very intriguing concepts about villainy, spirituality, sexuality, and the plurality of feminine expression. Oh, and it's WEIRD AS HELL. The Modern Film: The Craft: Legacy (2020) "A group of high school students forms a coven of witches” (IMDb.com). We legitimately thought we would LOATHE this movie as another cringey update to a beloved classic, but it turned out to be very endearing and actually made some welcome updates to outdated tropes... and that just made it so damned disappointing that it isn't good. Audio Sources: "Alien" produced by Brandywine Productions "Alien 3" produced by Twentieth Century Fox & Brandywine Productions "Atlanta" (from "Nice Try, The Devil") written and performed by Pete Holmes "The Craft" produced by Columbia Pictures & Red Wagon Entertainment "The Craft: Legacy" produced by Blumhouse Productions, et al. "Mary Poppins" produced by Walt Disney Productions "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Sugar Honey Iced Tea (S.H.I.T.)" written and performed by Princess Nokia "Trainwreck" produced by Universal Pictures, et al. "The Witches of Eastwick" produced by Warner Bros., et al. "Witchy Woman" written by Don Henley & Bernie Leadon and performed by the Eagles

Whew! We made it through a maelstrom of sickness, new jobs and life.  Thank you for your patience, friends. This is the long awaited Eagles episode we teased back in July. Chock full of humor and music.  Josh hates the Eagles, Owen dearly loves them.  Join us for one of our most ubiquitous discussions in our friendship.  And, yes, I know Bernie Leadon is not Dead.  I just wanted to throw Josh under the bus.  

On 21st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny are joined by SIOL family member, Murph to review the 1976 legendary album by The Eagles, "Hotel California." This is Zeus' pick and The Eagles 5th studio album and their first without founding member, Bernie Leadon, first with Joe Walsh and last with founding member Randy Meisner. The album went all the way to #1 in the United States and boasts, two #1 singles, Hotel California & New Kid In Town and two Grammy wins and one of the most beloved guitar solos. Hotel California is the third best selling album in the United States having sold 26 million copies. It also sold 32 million worldwide.Hotel California catapulted The Eagles into unchartered territory for an American band having achieved unmatched success. The Eagles songwriting duo of Don Henley & Glenn Frey combined with The Eagles legendary group harmonies and the vocals of Don Henley, Randy Meisner & Glenn Frey, now had the two headed monster of guitar whiz, Don "Fingers" Felder & guitar hero & the "Crown Prince Of Rock." Joe Walsh. This may have been the best Eagles lineup and they created what many call, one of the greatest albums ever, where the deep cuts like, Victim Of Love, can compete with the classics like, Life In The Fast Lane.As usual the guys breakdown the tracks and rank the songs. The boys, including Murph, then rank the album and album cover against the previous 19 albums reviewed on the Album Review Crew Episodes.So sit back and enjoy a super sized ARC episode that's ALMOST as good as the legendary Hotel California solo!Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

On 21st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny are joined by SIOL family member, Murph to review the 1976 legendary album by The Eagles, "Hotel California." This is Zeus' pick and The Eagles 5th studio album and their first without founding member, Bernie Leadon, first with Joe Walsh and last with founding member Randy Meisner. The album went all the way to #1 in the United States and boasts, two #1 singles, Hotel California & New Kid In Town and two Grammy wins and one of the most beloved guitar solos. Hotel California is the third best selling album in the United States having sold 26 million copies. It also sold 32 million worldwide. Hotel California catapulted The Eagles into unchartered territory for an American band having achieved unmatched success. The Eagles songwriting duo of Don Henley & Glenn Frey combined with The Eagles legendary group harmonies and the vocals of Don Henley, Randy Meisner & Glenn Frey, now had the two headed monster of guitar whiz, Don "Fingers" Felder & guitar hero & the "Crown Prince Of Rock." Joe Walsh. This may have been the best Eagles lineup and they created what many call, one of the greatest albums ever, where the deep cuts like, Victim Of Love, can compete with the classics like, Life In The Fast Lane. As usual the guys breakdown the tracks and rank the songs. The boys, including Murph, then rank the album and album cover against the previous 19 albums reviewed on the Album Review Crew Episodes. So sit back and enjoy a super sized ARC episode that's ALMOST as good as the legendary Hotel California solo! Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon   Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below: SIOL Merchandise at Klick Tee Shop   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Bernie Leadon cumplió 74 años el lunes pasado 19 de julio. Formó parte de grupos como The Dillards,The Flying Burrito Brothers, Eagles o Run C&W, entre otros, y es uno de los músicos más preciados de la “americana” desde hace cinco décadas. Mañana se publican por fin los nuevos álbumes de Jackson Browne y de David Crosby. Y el pasado viernes se publicaron las nuevas grabaciones de Santero y los Muchachos y de John Mayer. Os descubrimos a PM Warson, a Kat Eaton, lo nuevo de Los Lobos con sus canciones Angelinas favoritas y esperamos fecha para la próxima gira de Ashley Campbell. DISCO 1 JOHN MAYER Til the Right One Comes (SOB ROCK - 8) DISCO 2 SANTERO Y LOS MUCHACHOS Carretera de El Saler (CANTINA - 2) DISCO 3 ASHLEY CAMPBELL If I Wasn’t (3) DISCO 4 THE FLYING BURRITO BROS Man In The Fog (16) DISCO 5 EAGLES Twenty One (2) DISCO 6 BERNIE LEADON & MICHAEL GEORGIADES BAND The Sparrow (6) DISCO 7 BERNIE LEADON Vile and a Profane Man (1) DISCO 8 RUN C&W My Girl (4) DISCO 9 PM WARSON (Don’t) Hold Me Down (6) DISCO 10 KAT EATON I Need A New Way To say I Love You (3) DISCO 11 THE MAIN INGREDIENT Everybody Plays The Fool (1) DISCO 12 DAVID CROSBY & SARAH JAROSZ For Free (ORDENADOR) DISCO 13 LOS LOBOS Jamaica Say You Will (ORDENADOR) DISCO 14 JACKSON BROWNE A Song For Barcelona (ORDENADOR) Escuchar audio

On 21st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny are joined by SIOL family member, Murph to review the 1976 legendary album by The Eagles, "Hotel California." This is Zeus' pick and The Eagles 5th studio album and their first without founding member, Bernie Leadon, first with Joe Walsh and last with founding member Randy Meisner. The album went all the way to #1 in the United States and boasts, two #1 singles, Hotel California & New Kid In Town and two Grammy wins and one of the most beloved guitar solos. Hotel California is the third best selling album in the United States having sold 26 million copies. It also sold 32 million worldwide.Hotel California catapulted The Eagles into unchartered territory for an American band having achieved unmatched success. The Eagles songwriting duo of Don Henley & Glenn Frey combined with The Eagles legendary group harmonies and the vocals of Don Henley, Randy Meisner & Glenn Frey, now had the two headed monster of guitar whiz, Don "Fingers" Felder & guitar hero & the "Crown Prince Of Rock." Joe Walsh. This may have been the best Eagles lineup and they created what many call, one of the greatest albums ever, where the deep cuts like, Victim Of Love, can compete with the classics like, Life In The Fast Lane.As usual the guys breakdown the tracks and rank the songs. The boys, including Murph, then rank the album and album cover against the previous 19 albums reviewed on the Album Review Crew Episodes.So sit back and enjoy a super sized ARC episode that's ALMOST as good as the legendary Hotel California solo!Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

On 21st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny are joined by SIOL family member, Murph to review the 1976 legendary album by The Eagles, "Hotel California." This is Zeus' pick and The Eagles 5th studio album and their first without founding member, Bernie Leadon, first with Joe Walsh and last with founding member Randy Meisner. The album went all the way to #1 in the United States and boasts, two #1 singles, Hotel California & New Kid In Town and two Grammy wins and one of the most beloved guitar solos. Hotel California is the third best selling album in the United States having sold 26 million copies. It also sold 32 million worldwide. Hotel California catapulted The Eagles into unchartered territory for an American band having achieved unmatched success. The Eagles songwriting duo of Don Henley & Glenn Frey combined with The Eagles legendary group harmonies and the vocals of Don Henley, Randy Meisner & Glenn Frey, now had the two headed monster of guitar whiz, Don "Fingers" Felder & guitar hero & the "Crown Prince Of Rock." Joe Walsh. This may have been the best Eagles lineup and they created what many call, one of the greatest albums ever, where the deep cuts like, Victim Of Love, can compete with the classics like, Life In The Fast Lane. As usual the guys breakdown the tracks and rank the songs. The boys, including Murph, then rank the album and album cover against the previous 19 albums reviewed on the Album Review Crew Episodes. So sit back and enjoy a super sized ARC episode that's ALMOST as good as the legendary Hotel California solo! Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon   Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below: SIOL Merchandise at Klick Tee Shop   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Bassist and brother of Bernie Leadon talks about growing up playing psychedelic dungeons with Tom Petty and later on in Silver with Brent Mydland.

John Beland is an American songwriter, session guitarist, recording artist, producer and author. Beland's career as guitarist started out in Los Angeles in the late 1960s, playing sessions and local live gigs with Kris Kristofferson, as well as future Eagles members, Glenn Frey and Bernie Leadon. Beland's first major break came in 1970, when he played lead guitar for a young Linda Ronstadt. He helped Ronstadt put together her first serious solo band, Swampwater. Along with bandmates Gib Guilbeau, Thad Maxwell and Stan Pratt, Swampwater toured the country with Ronstadt, appearing with her on many notable television shows including The Johnny Cash Show. Swampwater recorded two landmark country-rock albums for Starday-King and RCA Records. The group was one of the first Los Angeles bands to record in Nashville, known for their smooth harmonies and Cajun rock style. After working with Ronstadt, Beland became a much in-demand guitarist, engaged by such high-profile artists as Arlo Guthrie, Johnny Tillotson, Kris Kristofferson, The Bellamy Brothers, Mac Davis, Dolly Parton and The Flying Burrito Brothers. As a solo artist, Beland recorded for Ranwood Records, scoring a chart hit in 1969 called "Baby You Come Rollin' 'Cross My Mind". Beland also became the last artist to sign with The Beatles' record company Apple Records in 1973. As a session guitarist, Beland recorded with many music business legends in the United States and internationally. For over twenty years, he was the creative force behind the pioneering country rock band from California, The Flying Burrito Brothers. Through his leadership, the group achieved nine hit country singles for Curb Records in the early 1980s. Beland was also instrumental in the comeback of rock and roll legend Rick Nelson in the late 1970s, arranging and playing on Nelson's last hit single "Dream Lover", as well as Nelson's much-acclaimed album The Memphis Sessions. He also toured and appeared with him on Saturday Night Live in 1979. Beland has also received awards from the American Society of Composers, Authors, and Publishers (ASCAP) during his career. As an award-winning songwriter, Beland's songs have been recorded by a wide variety of recording artists from various genres. They have included artists from pop, folk, gospel to country music. #johnbeland, #swampwater, #flyingburritobrothers

Musique Mécanique par le Théâtre Électrique ::"Journey of the Sorcerer" by Bernie Leadon

Bside Incoming: Merchant The latest instalment of our Incoming series is a Bside extravaganza of global grooves spanning nearly three hours, courtesy of London based duo: Merchant. Harry and Al began collecting and sharing records during their years at university in Bristol, since moving to London their passion for record digging has only grown, diving deep into genres and subcultures from all over the world. They have amassed, over the years, an impressive catalogue of rare treasures. After a gentle introduction Merchant will be warming up the turntables with Reggae, Soca, Zouk with the energy rising and into some very tasty House. Tracklist: Matthew Halsall & The Gondwana Orchestra - Blue Nile (0:00) Alan Sorrenti - Incrociando Il Sole (08:25) The Bernie Leadon & Michael Georgiades Band - Glass Off (12:45) Drum Baggo & The Cimmarons & Sir Collins - Happiness (19:05) Tenastelin - Burial Tonight (Version) (24:15) Red Cloud - I Want To Be Free (27:40) Ini Kamoze - Live A Little Love (31:10) Thierry Gilles - Tou Ça (36:50) Abel Duerrë - Nao Vo Nao (40:45) X-Plosion Band - La Vie Wed (43:55) Vermettya Royster - Give Me Your Love (Instrumental) (47:40) Macho III - Kalimba De Luna (52:00) Kantata - Feeling So Nice (54:55) N'ya Soleil - Yaounde By Night (Enchainement N'GOLA) (59:20) Ophelia - Fait Mwen Voler (1:06:40) Fil Pak - En Nou Alle Zouké (1:11:50) Obina Shok - Afrikaê ... Êêê (1:15:40) Fernanda Marlu - Inmin Nou (1:20:20) One Way Featuring Al Hudson - Music (1:24:30) Cheryl Glasgow - Fashion Accessory (1:29:45) Marco Polo - The Calling (East Side Mix) (1:34:50) Seydinah - A La Folie (Club Mix) (1:40:50) Tony Scott - That's How I'm Living (1:46:30) Crazy Eddie - Hey D.J. (1:50:55) Dj Camacho - Tell Me (1:53:40) Morenas - Hazme Soñar (Massimino & Cutmaster-G Club Mix) (1:56:40) Fibre Foundation - Free Your Mind (NJ Mix) (2:00:30) Capricorn - Love In London (Piano Mix) (2:05:40) Heavenly - 2 Dam Funky (Mix 2) (2:11:35) Guy Contact - Cool Blue Liquid (Maximus Mix) (2:15:50) Isamar & Compañia ‎– Amor Suave (Sexy Soft Mix) (2:19:50) Pete Richards - Music Is The Love Of My Life (2:24:50) Ghalib Ghallab - Love Desire (2:29:00) Scorpio Universal - Retounin Doudou (2:35:10) Caribean New Sound - Sweet Shake (2:41:30) Franz Tuernal - Koultans (2:47:10) Check out their soundcloud for some lovely edits: https://soundcloud.com/merchantrecordslondon Thanks to Molly Hickey for the beautiful artwork as always. Check out www.instagram.com/mollyth.art/ where you can find more of her wonderful creations and reach out if you're interested in commissions or prints. Follow the Bside Instagram for updates/news/vinyl and general music chat: www.instagram.com/bsidepodcasts/

Rock Around The Blog käy läpi alan uutiset ja uutuudet. Kuunnelluissa levyissä Eagles: Desperado ja Ricky Warwick: When Life Was Hard And Fast. Studiossa Sami Ruokangas ja Juha Kakkuri. Jakson Spotify-soittolista: https://open.spotify.com/playlist/5O2Uhtx3YLKDkjHkYURp0h?si=HWVqHr1WRq6rdcNZsAWcDQ Menossa mukana myös Sweden Rock, Guns N´ Roses, Rockfest, Larkin Poe, Steve Miller Band, Norah Jones, Elton John, Metallica, Gorillaz, Miley Cyrus, Ray Davies, Kinks, Billy F Gibbons, ZZ Top, Slim Harpo, Bo Diddley, Matt Sorum, The Cult, Mick Fleetwood, Steven Tyler, Kirk Hammett, Judas Priest, Christine McVie, Stevie Nicks, Legs Diamond, Deep Purple, Rock Candy, Andy Pearce, Ismo Karo, Pekka Pietiläinen, Joan Baez, Flying Burrito Brothers, Glyn Johns, Rolling Stones, Led Zeppelin, Beatles, Eric Clapton, Clash, New Model Army, Glenn Frey, Don Henley, Randy Meisner, Bernie Leadon, J.D. Souther, Jackson Browne, Linda Ronstadt, Johnny Cash, Timothy B. Schmit, Joe Walsh, Black Star Riders, Phil Lynott, Thin Lizzy, Stiff Little Fingers, Bruce Springsteen, Buckcherry, Keith Nelson, Xavier Muriel, Blackberry Smoke, Charlie Starr, Dizzy Reed, Andy Taylor, Duran Duran, Luke Morley, Thunder, Joe Elliott, Def Leppard, Willy DeVille, Mink DeVille, Dead or Alive, Britney Spears, Eddie Cochran, The Bottle Rockets, The Ramones, Bobby Fuller Four, Elvis Presley, The Almighty, Iron Maiden, Clutch, Skunk Anansie, Carin A. Hazmat ja Alice Cooper.

Gestur þáttarins að þessu sinni er enginn, en vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Hotel California sem er fimmta hljóðversplata bandarísku hljómsveitarinnar The Eagles, líkast til þekktasta plata sveitarinnar. Platan var tekin upp í tveimur hljóðverum; Criteria í Miami í Florida og Record Plant í Kaliforníu frá mars og fram í október 1976 og upptökustjóri var Bill Szymczyk sem vann með Eagles að flestum þeirra plötum. Platan kom út 8. Desember 1976. Hotel California er fyrsta plata Eagles sem Joe Walsh spilar á, en hann hafði áður verið í James Gang og Bill upptökustjóri var líka búinn að gera nokkrar plötur með þeim. Walsh kom inn fyrir gítarleikarann Bernie Leadon sem var einn af stofnendum Eagles og hætti í leiðindum 1975. Hotel California er líka síðasta Eagles platan sem bassaleikarinn Randy Meisner spilar á. Hann hætti 1977 - búinn að fá nóg af leiðindunum og átökunum innan hljómsveitarinnar. Umslag plötunnar sýnir mynd af hóteli sem heitir the Beverly Hills Hotel sem stendur við Sunset Boulevard í Beverly Hills og var tekið í notkun árið 1912. Platan fór á toppinn á bandaríska vinsældalistanum þegar hún kom út og þegar Grammy verðlaunin voru afhent í 20. sinn árið 1977 fékk sveitin verðlaun fyrir titillagið Hotel California, það var valið upptaka ársins (Record of the year) og lagið New kid in town fékk líka Grammy. Platan var líka tilnefnd til verðlauna í flokknum plata ársins, en tapaði fyrir Fleetwood Mac sem hlaut verðlaunin fyrir plötuna Rumours. 3 lög af plötunni voru gefin út á smáskífum; New kid in town og Hotel California sem fóru alla leið á toppinn á smáskífulistanum í Ameríku, og Life in the fast lane sem náði 11. sæti. Hotel California er ein mest selda plata rokksögunnar, hefur selst í meira en 32 milljónum eintaka en er þrátt fyrir það ekki mest selda plata Eagles. Það er safnplatan Their Greatest Hits (1971-1975). Hotel California lenti í 37. sæti á lista Rolling Stone yfir bestu plötur sögunnar bæði 2003 og 2012.

Gestur þáttarins að þessu sinni er enginn, en vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Hotel California sem er fimmta hljóðversplata bandarísku hljómsveitarinnar The Eagles, líkast til þekktasta plata sveitarinnar. Platan var tekin upp í tveimur hljóðverum; Criteria í Miami í Florida og Record Plant í Kaliforníu frá mars og fram í október 1976 og upptökustjóri var Bill Szymczyk sem vann með Eagles að flestum þeirra plötum. Platan kom út 8. Desember 1976. Hotel California er fyrsta plata Eagles sem Joe Walsh spilar á, en hann hafði áður verið í James Gang og Bill upptökustjóri var líka búinn að gera nokkrar plötur með þeim. Walsh kom inn fyrir gítarleikarann Bernie Leadon sem var einn af stofnendum Eagles og hætti í leiðindum 1975. Hotel California er líka síðasta Eagles platan sem bassaleikarinn Randy Meisner spilar á. Hann hætti 1977 - búinn að fá nóg af leiðindunum og átökunum innan hljómsveitarinnar. Umslag plötunnar sýnir mynd af hóteli sem heitir the Beverly Hills Hotel sem stendur við Sunset Boulevard í Beverly Hills og var tekið í notkun árið 1912. Platan fór á toppinn á bandaríska vinsældalistanum þegar hún kom út og þegar Grammy verðlaunin voru afhent í 20. sinn árið 1977 fékk sveitin verðlaun fyrir titillagið Hotel California, það var valið upptaka ársins (Record of the year) og lagið New kid in town fékk líka Grammy. Platan var líka tilnefnd til verðlauna í flokknum plata ársins, en tapaði fyrir Fleetwood Mac sem hlaut verðlaunin fyrir plötuna Rumours. 3 lög af plötunni voru gefin út á smáskífum; New kid in town og Hotel California sem fóru alla leið á toppinn á smáskífulistanum í Ameríku, og Life in the fast lane sem náði 11. sæti. Hotel California er ein mest selda plata rokksögunnar, hefur selst í meira en 32 milljónum eintaka en er þrátt fyrir það ekki mest selda plata Eagles. Það er safnplatan Their Greatest Hits (1971-1975). Hotel California lenti í 37. sæti á lista Rolling Stone yfir bestu plötur sögunnar bæði 2003 og 2012.

Gestur þáttarins að þessu sinni er enginn, en vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Hotel California sem er fimmta hljóðversplata bandarísku hljómsveitarinnar The Eagles, líkast til þekktasta plata sveitarinnar. Platan var tekin upp í tveimur hljóðverum; Criteria í Miami í Florida og Record Plant í Kaliforníu frá mars og fram í október 1976 og upptökustjóri var Bill Szymczyk sem vann með Eagles að flestum þeirra plötum. Platan kom út 8. Desember 1976. Hotel California er fyrsta plata Eagles sem Joe Walsh spilar á, en hann hafði áður verið í James Gang og Bill upptökustjóri var líka búinn að gera nokkrar plötur með þeim. Walsh kom inn fyrir gítarleikarann Bernie Leadon sem var einn af stofnendum Eagles og hætti í leiðindum 1975. Hotel California er líka síðasta Eagles platan sem bassaleikarinn Randy Meisner spilar á. Hann hætti 1977 - búinn að fá nóg af leiðindunum og átökunum innan hljómsveitarinnar. Umslag plötunnar sýnir mynd af hóteli sem heitir the Beverly Hills Hotel sem stendur við Sunset Boulevard í Beverly Hills og var tekið í notkun árið 1912. Platan fór á toppinn á bandaríska vinsældalistanum þegar hún kom út og þegar Grammy verðlaunin voru afhent í 20. sinn árið 1977 fékk sveitin verðlaun fyrir titillagið Hotel California, það var valið upptaka ársins (Record of the year) og lagið New kid in town fékk líka Grammy. Platan var líka tilnefnd til verðlauna í flokknum plata ársins, en tapaði fyrir Fleetwood Mac sem hlaut verðlaunin fyrir plötuna Rumours. 3 lög af plötunni voru gefin út á smáskífum; New kid in town og Hotel California sem fóru alla leið á toppinn á smáskífulistanum í Ameríku, og Life in the fast lane sem náði 11. sæti. Hotel California er ein mest selda plata rokksögunnar, hefur selst í meira en 32 milljónum eintaka en er þrátt fyrir það ekki mest selda plata Eagles. Það er safnplatan Their Greatest Hits (1971-1975). Hotel California lenti í 37. sæti á lista Rolling Stone yfir bestu plötur sögunnar bæði 2003 og 2012.

Musique Mécanique par le Théâtre Électrique ::"Journey of the Sorcerer" by Bernie Leadon

Welcome to our epic three-part series on all of the beefs, feuds, and simmering resentments that occurred inside one of the most successful bands in history, The Eagles. In part one, we cover the band's early years, which included multiple battles inside the band and out. First, there was the feud with Glyn Johns, the super producer known for working with the best British bands of the era who resisted Glenn Frey's urge to rock. Then there was Bernie Leadon, the genius instrumentalist who couldn't help but pour a beer on Glenn's head. And then there's sweet Randy Meisner, who was driven out of The Eagles because he wasn't "alpha." As an added bonus, we also cover The Eagles vs. Rolling Stone softball game. Yeah, that actually happened! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

El pasado 9 de Octubre se cumplía el 80º aniversario del nacimiento de John Lennon y por ello dedicamos nuestro programa a escuchar varias de sus composiciones en las voces de músicos incluidos en el gran paraguas de la Americana. El próximo martes será obligado recordar que 40 años atrás un loco asesino que no merece ni tan siquiera que se recuerde su nombre nos privó de su presencia a las puertas del edificio Dakota de Nueva York. Por eso, hoy nos adelantamos a esa fecha para recordar cómo los más significativos músicos de Americana han mirado en alguna ocasión las canciones que John Lennon creó para formar parte de la discografía de los Beatles.  El cuarteto de Liverpool grabó “One After 909” en su concierto de la terraza y esa versión en directo fue la que se incluyó en el álbum original. Era un tema de Lennon que compuso con 17 años y hacía referencia a un número, el 9, que parecía perseguirle. Nació el 9 de octubre y por entonces vivía en el 9 de Newcastle Road. Por entonces se escuchaban varias canciones que hablaban de trenes de carga como "Rock Island Line" o “Midnight Special” y John y PaulMcCartney decidieron ponerla un ritmo similar. El cuarteto llegó a grabar la canción en la primavera de 1963, durante las sesiones de "From Me to You" y "Thank You Girl”, que conformaron su tercer single, pero el resultado no les convenció y la desestimaron. Willie Nelson quiso homenajear al grupo con su propia versión. Los más veteranos artistas de country también han tenido un momento en su carrera para rememorar alguna canción de los Beatles. Kris Kristofferson también echó una mirada a los Fab 4 para versionar una canción claramente compuesta por John Lennon como fue “Paperback Writer” haciendo referencia a su faceta de escritor. Sería grabada por los Beatles cuando trabajaban en 1966 en Revolver, y aunque se editó en single en su momento, quedó fuera de sus álbumes oficiales. Se acaban de cumplir 55 años de la salida al mercado de Rubber Soul, uno de los discos más determinantes de la discografía de los Beatles y en el que las canciones de John Lennon tuvieron una significación relevante. Aquel trabajo lo cerraba “Run For Your Life”, que fue, por el contrario, la primera canción que grabaron para el disco. Para componer aquel tema sobre los celos con tonalidades de country, Lennon se basó en Elvis y su "Baby Let's Play House", utilizando incluso una frase completa de aquella canción de El Rey. John Cowan, una de las voces más potentes de la Americana, firmó en 2014 por el sello Compass para afrontar un proyecto que tituló Sixty, producido por su buen amigo y compañero de los Doobie Brothers, John McFee, y en el que pudimos encontrar una lista interminable de selectos invitados, desde Leon Russell, Alison Krauss y Rodney Crowell, hasta Bernie Leadon, Sam Bush o Chris Hillman, pasando por Huey Lewis, Bonnie Bramlett, Ray Benson y varios más. Su versión de “Run For Your Life” se convirtió en uno de los cortes de bonificación de la edición de lujo de Sixty, donde el artista de Ohio exhibió su poderío vocal. En Rubber Soul John Lennon compuso cuatro temas de forma independiente y otros tantos McCartney. También fueron cuatro en los que la pareja colaboró conjuntamente y dos los firmó George Harrison. “Norwegian Wood (This Bird Has Flown)” pasó a ser la primera canción de rock en la que aparecía un sitar y, como todo aquel álbum Rubber Soul al que pertenecía, marcó en música y letra un paso de gigante en la evolución de los Beatles. De hecho, John Lennon la creó como una carta a su mujer, Cynthia, admitiendo una aventura. Tim O’Brien aprovechó las tonalidades folkies para realizar una versión imponente que sirvió de cierre a su disco de 2011 Two Journeys. En realidad, escarbó en los antecedentes irlandeses del cuarteto de Liverpool, un importante puerto de entrada para tantos exiliados que buscaban trabajo. Una de las bandas míticas del bluegrass es Hot Rize, fundada en 1978 por Tim O'Brien, Pete Wernick, Charles Sawtelle y Mike Scap, aunque este último fue reemplazado muy pronto por Nick Forster. Además, tenían un divertido “alter ego” llamado Red Knuckles & The Trailblazers. En su álbum Shades In The Past incluyeron su particular versión de “Nowhere Man”, que también pertenece a Rubber Soul, el sexto álbum de los Beatles y que parece definir en un principio el carácter del propio John Lennon. Tras admitir posteriormente que consumía drogas, el personaje de esta canción fue analizado desde todos los puntos de vista posibles por los expertos. Como conclusión, aquél “hombre de ninguna parte” podía ser desde un “camello” al capitán del Submarino Amarillo. Rhett Miller, el nombre artístico de Stewart Ransom Miller II, siempre ha estado asociado a la banda Old 97’s como su líder y cantante solista. The Dreamer es el quinto álbum de estudio que graba al margen de su banda y un disco en el que se marca un cambio en sus exposiciones personales. Resultaba curioso que cuando Rhett Miller grababa en solitario tenía ciertas inclinaciones hacia el pop con cierto acento británico, mientras que con Old 97’s se manifestaba mucho más inclinado a las raíces. En 2005 se realizó un álbum dedicado al álbum Rubber Soul con motivo de su cumpleaños número 40, This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul, y en él participó el músico tejano con esta versión de “Girl”. El siglo XXI comenzó con una película llamada I Am Sam que protagonizaron Sean Penn y Michelle Pfeiffer. Los productores pretendieron que su banda sonora estuviera compuesta de grabaciones originales de los Beatles, pero ante su imposibilidad, optaron por reunir toda una serie de versiones de la banda de Liverpool realizadas por nombres tan sonoros como Rufus Wainwright, los Wallflowers, Sheryl Crow, Nick Cave, Ben Harper o los Black Crowes, entre otros. Poco antes de su disolución en 2002, la banda de los hermanos Robinson grabó “Lucy In The Sky With Diamonds”, una de las composiciones de Lennon siempre controvertida que formó parte en 1967 de Sgt. Pepper's Lonely Hearts Club Band, el disco que lo cambió todo. El tema de apertura del último álbum grabado por los Beatles, Abbey Road, aunque se publicara en 1969, antes que Let It Be, es uno de los más musculosos del grupo. En parte tiene que ver con la veneración de John Lennon por Chuck Berry y su entrega a las campañas en favor de la paz en las que estaba muy implicado por entonces. El tejano Delbert McClinton escogió “Come Together” para el álbum Come Together - America Salutes The Beatles de 1995, en el que participaron varios de los grandes nombres de la country music. Espléndido con la armónica, en una gira por Gran Bretaña a comienzos de los 60 con Bruce Channel, al que había acompañado en su clásico "Hey! Baby", enseñó a John Lennon algunos trucos con la armónica. Se notó mucho en “Love Me Do”. Cuando Rosanne Cash dejó el sello Columbia en 1965, la compañía publicó un recopilatorio titulado Retrospective, al que se añadió esta versión de “I’m Only Sleeping”, que John Lennon compuso para Revolver en 1966 en el reverso de una carta. Refleja a la perfección su estado de ánimo de entonces cuando no estaba de gira con los Beatles. Se pasaba el día en la cama bajo los efectos de las drogas durmiendo, escribiendo o leyendo… hasta que McCartney venía a interrumpirle para trabajar sobre las canciones. Los Beatles impulsaron el comienzo de diversas bandas del Merseybeat. Varias de sus composiciones sirvieron para que aquellos grupos empezaran a despuntar. En 1963 John Lennon entregó uno de esos temas a Billy J. Kramer & The Dakotas. Era “I Call Your Name”, que él mismo había escrito antes incluso de que se formaran los Beatles en casa de su tía Mimi, con la que se crió. Billy J. Kramer & The Dakotas la utilizaron como B de “Bad To Me”, otra composición del binomio Lennon/McCartney, pero no acabó de convencerlos, de tal forma que los Beatles hicieron su propia versión, apareciendo primeramente en Estados Unidos dentro del llamado Second Album y en 1964 en Gran Bretaña formando parte del EP Long Tall Sally. En 1966, The Mamas And The Papas, “la familia real de Laurel Canyon”, hicieron su debut con el álbum If You Can Believe Your Eyes and Ears y la dieron a conocer a nivel popular en Estados Unidos. “In My Life” se incluyó originalmente en un Lp tan imponente como Rubber Soul de los Beatles. En el texto, aunque la autoría fue compartida con McCartney, un John Lennon que acababa de cumplir 25 años recordaba con nostalgia a la gente y los lugares donde pasó una parte muy importante de sus años jóvenes. La canción tiene claras reminiscencias de “Penny Lane” y “Strawberry Fields Forever” y el músico exploraría la misma temática en los siguientes momentos de su carrera, de forma muy especial en el doble álbum del cuarteto, bien conocido como el Álbum Blanco. En 1994, Crosby, Stills & Nash editaron su álbum After The Storm coincidiendo con el 25º aniversario de su disco de debut, tras haber estado dedicados a ampliar su discografía en solitario, con dos nuevos álbumes por parte de Stills y Crosby, además de un recopilatorio de Nash. Todas las canciones de este disco que les llevó a hacer una larga gira, incluyendo el Woodstock ’94, pertenecían a los tres músicos, excepto una versión de “In My Life”.  John Lennon siempre admitió las más variadas experiencias, que se fueron ampliando con el paso de los años. El rock and roll de sus comienzos dio paso a una cierta fijación por figuras como las de Elvis, los Everly Brothers o Bob Dylan y su forma de crear canciones. Si ellos podían hacerlo, Lennon también. “You've Got To Hide Your Love Away” fue una de sus primeras reflexiones sobre su manera de escribir, que había comenzado con temas como "I'm a Loser" en el verano del 64. Lennon la compuso en casa, buscando un nuevo tema para la película Help!. Jackson Browne, que al versionar a los Beatles siempre se ha inclinado por las creaciones de John Lennon, la cantó así en uno de sus homenajes. Jonathan Edwards es un veterano artista de Aitkin, Minnesota, que empezó su carrera abriendo los conciertos de B.B. King y la Allman Brothers Band, fichando por Capricorn Records y lanzando su disco de debut hace 47 años. En 2011, Jonathan Edwards publicaba su álbum My Love Will Keep incluyendo una versión de “She Loves You”, muy alejada de como conocíamos aquella canción de los Beatles que a mediados de septiembre de 1963 se editaba como single en Estados Unidos en un pequeño sello discográfico llamado Swan Records. En este caso, “She Loves You” tiene que ver con una cierta fijación de Paul McCartney con una canción de Bobby Rydell titulada “Forget Him” (“Olvídale”) y pensó en crear una dónde preguntar “¿Ella te quiere?” y que los demás contestaran “Si”. Lo comentó con Lennon y la idea quedó flotando en el ambiente. Empezaron a trastear con las guitarras en el hotel mientras estaban de gira con Roy Orbison y Gerry and the Pacemakers y terminaron aquella composición en casa de Paul al día siguiente. Jim Lauderdale también se fijó en el álbum Rubber Soul del cuarteto de Liverpool y eligió “I’m Looking Through You”, llevándose el tema hasta el sonido de Bakersfield y las influencias de Buck Owens. Producido por Phil Madeira y grabado en la Music City, Nueva York y San Francisco, el álbum Let Us In Americana contaba entre los invitados con Buddy Miller, Will Hoge, Rodney Crowell, Ketch Secor de Old Crow Medicine Show, Steve Earle y Allison Moorer. Escuchar audio

Musique Mécanique par le Théâtre Électrique ::"Journey of the Sorcerer" by Bernie Leadon

Musique Mécanique par le Théâtre Électrique ::"Journey of the Sorcerer" by Bernie Leadon

Ayer se cumplieron 3 años de la muerte de Tom Petty. El 2 de Octubre de 2017 recibimos aquella triste noticia. Tom Petty había sido encontrado inconsciente a consecuencia de un paro cardíaco y fue trasladado al Centro Médico de UCLA en Santa Mónica, California, donde falleció. Fue una sobredosis "accidental" de medicamentos para paliar el dolor de su cadera rota, el insomnio, la ansiedad y la depresión. Estaba celebrando sus 40 años de carrera con una gran gira y faltaban 18 días para que hubiera cumplido 67 años. Los más fieles seguidores de Tom Petty & The Heartbreakers, aquellos que se inscribieron en el Highway Companions Fan Club de la banda, recibieron una copia de Hypnotic Eye, el último trabajo del grupo por entonces, y un álbum exclusivo grabado en directo y titulado Live 2013 con tomas de las actuaciones de Tom Petty el año anterior en el Beacon Theatre de Nueva York y el Fonda Theatre de Los Angeles, además de algunos de los momentos más destacados de su aparición en el Bonnaroo Festival. De su paso por la Gran Manzana queda esta versión impecable de “So You Want To Be A Rock N' Roll Star”, una canción compuesta por Jim McGuinn y Chris Hillman para que los Byrds la incluyeran en su LP de 1967, Younger Than Yesterday. Estoy convencido de que Tom Petty siempre soñó que era el miembro oculto de los Byrds. Una implacable versión de “I Feel a Whole Lot Better” abría en 1989 la segunda cara del primer LP en solitario de Tom Petty, Full Moon Fever, y es un ejemplo más de la adoración que el artista de Florida tenía por los Byrds. La colaboración con Jeff Lynne fue fundamental en aquel sonido. Sin embargo, en un principio, la compañía discográfica no estaba satisfecha con el disco y se plantearon no publicarlo ya que, decían, que no había ni un single para editar. "Free Fallin'" les hizo cambiar de opinión. Fue la mejor despedida de la década de los 90. Aunque nos pueda parecer mentira, esta obra de arte llamada "Leave Virginia Alone" es una de las 10 canciones que quedaron fuera de la primitiva edición de Wildflowers. El artista de Gainsville la compuso en el 93, un año antes de la edición del disco. Eso sí, algún seguidor impenitente de Rod Stewart, como nuestro amigo Ignacio, la recordará formando parte de su álbum del 95 A Spanner in the Works. Por suerte, Mark Seliger y Adria Petty, hija de Tom, han conformado un vídeo delicioso protagonizado por la actriz Casimere Jollette, de la serie de Netflix sobre el mundo del ballet Tiny Pretty Things. Hay personajes inolvidables, en el mejor de los sentidos, y ese es el caso de Tom Petty, el artista de Florida que nos abandonó hace tres años. Su carrera en solitario nos dejó tres álbumes impagables y el segundo de ellos, el mítico Wildflowers de 1994 se convirtió en una de las joyas de su discografía. En realidad, todos los Heartbreakers estuvieron al lado de su líder, excepto el batería Stan Lynch que fue sustituido por Steve Ferrone. “Somewhere Under Heaven” forma parte del segundo de los álbumes de la reedición de Wildflowers, en concreto el llamado All The Rest. Era una de las 10 canciones que quedaron fuera de la edición original de 1994. "Crawling Back to You" reflejó, como todo aquel Wildflowers, los 20 años de fracaso de Tom Petty en su matrimonio con Jane Benyo, de quien se divorciaría dos años más tarde. Había estrofas como "Estoy tan cansado de estar cansado/Seguro que la noche seguirá al día/La mayoría de las cosas que me preocupan/Nunca suceden de todos modos". Las sesiones de grabación de Wildflowers comenzaron en 1992, cuando el músico de Florida tenía la intención de dar continuidad a su debut en solitario Full Moon Fever del 89. Pero Petty había llegado a un acuerdo con Warner, con quien había grabado como miembro de los Traveling Wilburys, a pesar de que junto a los Heartbreakers pertenecía a MCA. Aunque mantuvo a Rick Rubin como co-productor junto a su compañero Mike Campbell, decidió tomar el mando de aquel proyecto. Gracias a la familia de Petty y a sus archivos, se ha recuperado esta maqueta de uno de los temas punteros de aquel registro como es el caso de “You Don’t Know How It Feels”. En este caso, está grabada en su estudio casero un año antes de la edición del disco y los seguidores impenitentes del músico encontrarán diferencias en la letra, como una muestra más del proceso de creación. Esta versión de “You Don’t Know How It Feels” da una sensación mucho más íntima y personal de la original. Además, encontramos un verso que más tarde aparecería en la penúltima canción de aquel mismo álbum. Wildflowers fue el segundo álbum de Tom Petty como artista en solitario allá por 1994, que abrió con la canción que lo dio nombre genérico. Rick Rubin aportaba de nuevo su trabajo en la producción junto a Petty y Mike Campbell para llevar a cabo aquella aventura. El próximo 1 de noviembre se cumplirá un cuarto de siglo de su publicación. El próximo 16 de octubre aparecerá, por fin, Wildflowers & All The Rest, el proyecto más personal en el que Tom Petty estuvo centrado tras la publicación en 2014 de su último álbum con los Heartbreakers, Hypnotic Eye. Su intención primitiva era publicar las 10 canciones que no se incluyeron en el disco original, y que él llamaba All the Rest. Pero se ha añadido mucho más. En la cuádruple edición de lujo y dentro de las llamadas Home Recordings, con 15 cortes, de los que 12 son versiones nunca editadas y 3 son canciones inéditas, vamos a encontrar esta maqueta del tema central, “Wildflowers”, grabada en su estudio casero. A mitad de agosto de 1994 y dentro de las sesiones de grabación de Wildflowers se registró “Wake Up Time” que cerró aquel proyecto como décimo quinto tema. En esta reedición podemos escuchar la versión original, una “home recordings” y, además, esta toma alternativa que tan solo aparece en el quinto CD de la Super Deluxe Edition que han titulado Alternate Takes (Finding Wildflowers). El músico de Gainsville nunca olvidó que aquel segundo de sus álbumes en solitario de 1994 debía haber sido un disco doble, y fue dejando algunas muestras en distintas publicaciones posteriores. Tras su muerte, todos los planes de reedición se pospusieron hasta que se resolvió una demanda entre las hijas de Petty, Adria y Annakim, y su viuda Dana, el pasado año. Tom Leadon, hermano de Bernie Leadon, encontró a Tom Petty en los Epics y juntos formaron Mudcrutch en 1970 con Randall Marsh , añadiendo muy pronto a Mike Campbell y pasando a ser un quinteto tras la incorporación de Benmont Tench. La influencia de Leon Russell en la personalidad musical de Petty era relevante en aquellos tiempos y, de hecho, firmaron un contrato en 1974 con Shelter Records y se marcharon a Los Angeles, California. Publicaron un single en 1975, compuesto por él, sin ninguna repercusión y se disolvieron a finales de aquel año. Sin embargo, Petty, Campbell, y Tench, junto a Stan Lynch y Ron Blair formaron los Heartbreakers unos meses más tarde. En aquella reunión de 2007 para grabar con los miembros originales de Mudcrutch, quedaron para la historia canciones como “Orphan Of The Storm”. Tom Petty era el bajista de la banda, como su buen amigo Chris Hillman en los Byrds. The Live Anthology es una obra de arte convertida en colección de actuaciones de Tom Petty & The Heartbreakers a lo largo de su carrera que apareció hace 10 años. Existe una edición de lujo con los cuatro CDs de la edición estándar más un quinto CD de material también grabado en directo, dos DVDs nunca editados, un vinilo remasterizado de su álbum de 1976 Official Live 'Leg, y un disco Blu-ray disc con las 62 canciones de la caja, a la que se añade un poster de un concierto, reproducciones de pases de backstage, un libreto de lujo y una litografía. En ese quinto CD se encuentra esta versión del clásico “Ballad Of Easy Rider”, grabada en directo en el concierto de Nochevieja de 1978 en Santa Monica, California. Easy Rider se ha convertido en una de las películas de culto para los amantes de las road movies. Peter Fonda y Dennis Hopper la protagonizaron y dirigieron, contando con un joven Jack Nicholson entre los actores. "I Won't Back Down" será recordada por muchos como el primer single extraído del álbum Full Moon Fever, el debut de Tom Petty en solitario allá por 1989. Compuesta junto a su buen amigo Jeff Lynne, estrecho colaborador en la autoría de canciones para este registro, resultó ser un desafío contra las dificultades y la opresión. El tema fue muy radiado a raíz de los acontecimientos del 11 de Septiembre de 2011, y Tom Petty la interpretó de esta forma junto a los Heartbreakers a un ritmo más lento que el original en el espacio America: A Tribute To Heroes. Escuchar audio

Es un privilegio saludaros otra vez. Y es imprescindible agradeceros vuestra cercanía y vuestro apoyo a lo largo de todo este tiempo. Los oyentes, vosotros, nunca habéis sido, ni sois, ni seréis, “clientes”. A la vez que sumamos nuevos aliados, queremos mantener el respeto por los que siempre estáis ahí y sois los cimientos más sólidos de esta radio pública. Sois “los nuestros”, con los que tenemos empatía y complicidad. Vaya, como siempre, nuestro respeto y nuestro cariño por todos y cada uno de vosotros. Según la leyenda, el lobo aúlla a la luna para que le devuelva su sombra. Esta es la nuestra. Comenzamos nuestra temporada número 48 de TOMA UNO, que supondrá además la número 30 en la sintonía de Radio 3. Aquí llegamos en 1991, con 18 años de andadura. La radio siempre nos ha brindado hospitalidad y cariño. Hoy volvemos a acomodarnos en su porche, con unas vistas incomparables, un horizonte amplio y sugestivo, además de una compañía impagable. Y nos volvemos a sentir en casa. Por eso queremos compartirlo contigo cada fin de semana. TOMA UNO siempre ha querido ser un motivo de celebración, por eso “Take It Easy” de los Eagles vuelve a ser la canción de apertura. Fue la canción con la que comenzamos la primera temporada de TOMA UNO allá por 1973 y es la que hoy escuchamos para abrir la número 48 del programa. Algún tiempo antes de que se convirtieran en personajes fundamentales de lo que hoy conocemos como Americana, Jackson Browne y Glenn Frey vivían en el mismo bloque de apartamentos de Los Ángeles. Browne le enseñó a Frey un primer esbozo de una canción que no podía terminar y que impactó en el músico de Detroit, de tal forma que se dispuso a colaborar en terminarla. El resultado fue “Take It Easy”, la canción de apertura del primer álbum de los Eagles. Era un acercamiento vital del rock a las raíces y viceversa. En 1976, los Eagles la interpretaron de esta forma en el Forum de Inglewood, en el condado de Los Ángeles. No volvieron a hacerlo en aquel lugar hasta los días 12, 14 y 15 de septiembre de 2018, 42 años después y, tristemente sin Glenn Frey. Los tres días de conciertos se han resumido ahora en Live From The Forum MMXVIII que se editará el 16 de octubre en varios formatos. Los Eagles siguen siendo una banda de referencia para la música de raíces norteamericana y “Hotel California” se mantiene como una de las canciones emblemáticas que marcaron el devenir del grupo. La música fue una idea de Don Felder y la banda trabajó con esa especie de “reggae eléctrico mexicano” que hizo que el título de trabajo fuera precisamente "Mexican Reggae" antes de culminar la composición de la letra, que tiene una referencia oculta a Steely Dan, según confesó Glenn Frey. “Hotel California” sigue siendo una canción con tintes cinematográficos. Incluso los Eagles pensaban en la serie de televisión The Twilight Zone, que triunfó en la primera mitad de los 60. Con la incorporación de Vince Gill y Deacon Frey, hijo de Glenn, la mítica banda californiana suena ahora así, en este anticipo de su nuevo álbum en directo, el primero en 20 años, Live From The Forum MMXVIII. La reedición ampliada de Wildflowers era el proyecto en el que Tom Petty estuvo trabajando meses antes de su fallecimiento. Su intención era publicar las 10 canciones que no se incluyeron en el disco, y que él llamaba All the Rest. En la cuádruple edición de lujo y dentro de las Home Recordings, con 15 cortes, de los que 12 son versiones nunca editadas y 3 son canciones inéditas, vamos a encontrar esta maqueta del tema central, “Wildflowers”, grabada en su estudio casero. El próximo 16 de octubre aparecerá, por fin, Wildflowers & All The Rest, el proyecto más personal en el que Tom Petty estuvo centrado tras la publicación en 2014 de su último álbum con los Heartbreakers, Hypnotic Eye. El músico de Gainsville nunca olvidó que aquel segundo de sus álbumes en solitario de 1994 debía haber sido un disco doble, y fue dejando algunas muestras en distintas publicaciones posteriores. Tras su muerte, todos los planes de reedición se pospusieron hasta que se resolvió una demanda entre las hijas de Petty, Adria y Annakim, y su viuda Dana, el pasado año. De esta forma podremos escuchar canciones tan sutiles como “There Goes Angela (Dream Away)”, otra muestra de sus maquetas caseras. Para la grabación del nuevo disco de Chris Stapleton, el músico de Kentucky ha contado con dos miembros de los Heartbreakers de Tom Petty como son el guitarrista Mike Campbell y el guitarrista Benmont Tench. Reunido con su mujer, Morgane, y viejos y nuevos colaboradores en el RCA Studio A de Nashville el resultado es Starting Over, al que da nombre esta canción compuesta junto a su viejo amigo Mike Henderson. Un tema perfecto desde su título, Comenzar de nuevo, para un día como el de hoy. "Y no me importa / Dondequiera que estemos es donde quiero estar”. "Y cariño, por una vez en nuestra vida / Vamos a arriesgarnos y lanzar los dados / Puedo ser tu centavo de la suerte, tú puedes ser mi trébol de cuatro hojas”. Starting Over es una colección de 14 canciones en la que encontraremos también versiones de "Joy of My Life" de John Fogerty y a dos temas de Guy Clark, "Worry B Gone" y "Old Friends". El disco se publicará a mitad de noviembre, pero ya podemos compartirlo en TOMA UNO. Seguimos anticipando nuevas grabaciones de buenos amigos, como son en este caso The Band of Heathens, que el 25 de este mes publicarán Stranger, el más ecléctico de sus álbumes después de tres años desde que Duende nos dejó boquiabiertos por su exquisitez. La banda, que hasta la llegada de la pandemia estaba asentada en Austin, ha sido una de las más activas en estos tiempos de aislamiento y ha utilizado todos los medios a su alcance para mantener el contacto con sus seguidores desde sus respectivos hogares en California, Texas, Carolina del Norte y Tennessee. Han transmitido en vivo conciertos y han popularizado sus imperdibles Remote Transmission y el Good Time Supper Club. Grabado en Portland, Oregon, con el productor Tucker Martine, Strange, debe su título al clásico del californiano Robert Heinlein Stranger in a Strange Land y a la novela de Albert Camus L'Étranger, pero conecta directamente con los seguidores del grupo, esas personas leales que han echado abajo los muros del aislamiento para mantener ese contacto vital. Dentro del semanal Good Time Supper Club hemos podido disfrutar de como The Band of Heathens, con Todd Snider como invitado, rememoraba de esta manera "L.A, Freeway", una de las canciones mágicas de Guy Clark que el artista tejano compuso hace 45 años tras discutir con su casero en Los Ángeles, lo que provocó su marcha a Nashville. La familia, los amigos, la empatía… todo ello va tejiendo un tapiz con el que nos vamos arropando en estos tiempos de incertidumbre. Y la banda sonora de estos momentos inesperados calma cierta ansiedad cuando nos acogemos a nuestros sonidos más reconocibles. Eso ha hecho, por ejemplo, Tennessee Jet que en su nuevo álbum, The Country, que ayer mismo se publicó, ha contado con el apoyo vocal de Cody Jinks, Paul Cauthen y Elizabeth Cook, además de la armónica de Mickey Raphael y Brian Newman, trompetista habitual de Lady Gaga, para devolver al presente el clásico de Townes Van Zandt “Pancho And Lefty”, la historia de Pancho, un bandido mexicano, y su amistad con Lefty, el hombre que finalmente lo traiciona. Pudiera tener que ver con el propio Pancho Villa… o no. Al fin y al cabo son leyendas del lejano Oeste. Dicen que Colter Wall es un cantante retro. Bien al contrario, el músico canadiense de Saskatchewan tiene la capacidad de recuperar las esencias de la música popular y traerlas al presente, ante la triste uniformidad de la industria. Es posible que, en este sentido, esté tomando el relevo generacional de Michael Martin Murphey en su lucha por preservar la tradición. Western Swing & Waltzes and Other Punchy Songs sigue ahondando en el viejo Oeste y en la música de las praderas polvorientas con una pala instrumental casi minimalista que arropa a una voz imponente, casi impropia de un tipo que Ha cumplido 25 años a finales de junio. Entre las canciones elegidas que no le son propias está "Big Iron", compuesta e interpretada por Marty Robbins en 1959 en el álbum Gunfighter Ballads And Trail Songs. Cuenta la historia de un duelo en el que un Ranger de Arizona mata a Texas Red, un popular forajido de 24 años, en el pueblo de Agua Fría. Colter Wall ha querido que su versión sea un tributo a Grady Martin tanto como a Marty Robbins. El guitarrista de Tennessee, miembro del Nashville A-Team, fue uno de los instrumentistas más reconocidos de la escena del country y el rockabilly. Estos son buenos tiempos para refugiarse en la tradición y son muchos los ejemplos que están ocupando las nuevas ediciones discográficas. Josh Turner acaba de publicar Country State of Mind como un saludo a sus héroes musicales, que empiezan en Hank Williams y Johnny Cash, continuando por Kris Kristofferson, John Anderson, Keith Whitley o Randy Travis. Cuando Randy apareció, Josh Turner supo que había encontrado un espíritu afín. Por eso uno de los temas a incluir en este proyecto era "Forever and Ever, Amen", que el artista de North Carolina había llevado a la cima de las listas en 1987 como ejemplo del espíritu de los “nuevos tradicionalistas” de los 80, una década formativa para muchos. En esta versión, ha querido que fuera el propio Randy, que continúa en proceso de recuperación de su cardiomiopatía viral diagnosticada en 2013, quien pusiera el broche final. La despedida por hoy del tiempo de TOMA UNO nos lleva a Old Road New Again, el primer disco original de los legendarios Dillards desde 1991, hace 29 años. Junto a Rodney Dillard, el único superviviente de la formación original, que lidera un quinteto en el que están Beverly Cotten-Dillard, Gary Smith, Tony Wray y George Giddens, el álbum cuenta con las apariciones estelares de Ricky Skaggs, Sharon y Cheryl White, Sam Bush o Tim Crouch, además de Don Henley, Herb Pedersen y Bernie Leadon. Estos tres últimos intervienen de manera especial en el tema que da título al registro, “Old Road New Again”. Esa canción con la que hoy cerramos el tiempo de TOMA UNO y nos citamos para mañana en la sintonía de Radio 3, resume la historia legendaria de los Dillards y su relación con los Byrds, Buffalo Springfield, los Kentucky Colonels, la Nitty Gritty Dirt Band o los Eagles. Fue Rodney Dillard, por ejemplo, quien convenció a Don Henley de dejar Texas y buscar fortuna en California. El estribillo es perfecto "Cuando alguien cuenta la historia, este viejo camino es nuevo otra vez". Así es como las viejas carreteras se convierten en autopistas. Escuchar audio

Con este programa culminamos la temporada número 47 de TOMA UNO y no sabemos si tendrá continuación a partir de septiembre. En los últimos 18 años, nunca nos habíamos tomado vacaciones en estas fechas... hasta el presente. Tendremos todo el mes de Agosto para preparar una próxima temporada a conciencia, aunque seguiremos contactados a través de las redes sociales. Nos hemos enterado de la muerte durante la pasada semana de Jamie Oldaker, socio fundador y batería de los Tractors, además de un respetado músico de sesión para artistas como Eric Clapton, Bob Seger o Leon Russell, entre otros muchos. Nativo de Tulsa, en Oklahoma, formó los Tractors junto al trístemente desaparecido Steve Ripley. Nos dejaron canciones inolvidables como "Baby Likes to Rock It" en 1994, a cuya presentación oficial asistimos aquel año en Nashville durante la celebración de la Fan Fair. Hace 15 años, el ahora desaparecido Jamie Oldaker publicó en el sello Concord el álbum Mad Dogs & Okies, donde cio todo el protagonismo a invitados tan brillantes como Clapton, J.J. Cale, Ray Benson, Vince Gill, Willie Nelson o Tony Joe White. Era un homenaje a la herencia musical de su estado natal, Oklahoma, y por lo tanto no podía faltar el legendario J.J. Cale, con su voz y su guitarra en “Daylight”, un tema propio que ejemplariza a la perfección el Tulsa Sound. Es evidente que Margo Price no deja indiferente a nadie. Así ocurrió con sus críticas directas a la administración Trump y ahora la amplitud de miras de su nuevo álbum, That's How Rumors Get Started. La artista de Aledo, en Illinois, sigue aventurandose por todos los caminos que se abren a su paso y tampoco ha dejado fuera el legado que Muscle Shoals ha dejado en la escena de la Americana. Esas influencias clásicas que van mucho más allá de Nashville se reflejan en "Prisoner of The Highway", donde habla de los músicos en gira y en el que el Southern rock y el góspel se confunden, conformando uno de los cortes más sobresalientes de un álbum que mira con cariño hacia el rock clásico. Los que se consideran más puristas ya han levantado la voz y las quejas. El susto al saber que Sturgill Simpson era el co-productor aún no se lo han quitado de encima. Ethan Johns, un productor curtido al lado de nombres tan eclécticos y sonoros como Ray LaMontagne, Paul McCartney o Kings of Leon, ha sido el encargado de trabajar al lado de Mary Chapin Carpenter, a la que se llevó hasta los estudios Real World de Peter Gabriel en Bath, al suroeste de Inglaterra, para grabar The Dirt And The Stars, el nuevo álbum de la cantante compositora de Nueva Jersey, que explora los desafíos del presente desde una visión íntima y personal. Mary Chapin compuso estas canciones en su granja de Virginia antes de la pandemia, y deja momentos tan intensos como “Secret Keepers”, un recordatorio de aquellas experiencias irremplazables que nunca desaparecen. Que las cicatrices desaparezcan no significa que lo haga el dolor que las produjeron. The Dirt And The Stars supone la primera colección de nuevas canciones desde que hace cuatro años publicó The Things That We Are Made Of. En 2018 lanzó junto a Ethan Johns y en los estudios de Peter Gabriel Sometimes Just The Sky que, excepto el tema que lo dio nombre, era una celebración de sus 30 años de carrera discográfica con nuevas versiones de algunas de sus canciones más queridas. Lori McKenna, la compositora y vocalista de Stoughton, en el estado de Massachusetts, se mantiene en la senda de construir grandes canciones que profundizan en sus experiencias personales y que vienen a ser, en cierto modo, una versión femenina de lo que puedan suponer Jason Isbell o Sturgill Simpson. En el tema central de su nuevo álbum, The Balladeer, recién editado, nos encontramos con el temor de que el cantar sobre una relación feliz impida, precisamente, el reconocimiento que suele tenerse por las composiciones que describen relaciones dolorosas y desgraciadas. Parece ser casi una norma en Courtney Marie Andrews que no haya demasiado optimismo en sus propuestas, y en este séptimo registro se mantiene la tónica. Desde el delicioso vals de apertura, "Burlap String", hasta el final no hay una sola nota de más y su voz persiste en el convencimiento más absoluto. La joven cantante y compositora de Arizona que cumplió 29 años el pasado diciembre ha querido que su nuevo trabajo, Old Flowers, sea precisamente un disco de ruptura, con el riesgo que suponen que exista una cantidad ingente de discos que tratan sobre esas tensiones emocionales. La autocompasión puede resultar empalagosa y siempre estás en el difícil equilibrio de que una canción sea un terrible cliché terapéutico o que se convierta en un clásico intemporal. Hace cuatro años debutaba un cuarteto de Sheridan, en Wyoming, llamado The Two Tracks con un disco homónimo que se convirtió en el mejor álbum del año para la emisora pública de aquel estado. Aquello supuso que al año siguiente Will Kimbrough quisiera hacer su presentación como productor con Postcard Town y que ahora persista en esa labor con Cheers to Solitude, su nuevo disco, con un sonido familiar enraizado en la tradición que supone un paso significativo hacia adelante con respecto a sus propuestas previas. Se editará a mediados de agosto y fue grabado en el mítico The Butcher Shoppe de Nashville, muy pocos meses antes de que se viera obligado a cerrar para reconstruirlo. Un tema como “All Women Are Healers” es en cierto modo un himno de apoyo a las mujeres, inspirado en el título de un libro de curación natural. El protagonismo de ellas en los cambios y la conciencia de combatir ciertos los estándares sociales y prejuicios a los que las mujeres aún se enfrentan en el mundo está muy presente. Con sus raíces en Texas, Evan Ogden se inspira en los clásicos que escuchó por primera vez en los discos de su abuelo, pero su interés está en que las nuevas generaciones también receptivas a esas propuestas que como en “Thunderstorms” provoca una tormenta emocional parecida a las muchas que van apareciendo lentamente a nuestro alrededor. Volvemos a encontrarnos con reflexiones muy honestas y personales de un joven músico de Austin que descubrió muy pronto lo significativo que fue el country de los años 1940, aquel que plantó las semillas para apreciar el impacto de una música conmovedora. Omnivore sigue dando sorpresas a los coleccionistas con ediciones puntuales que recuperan tesoros inesperados e inéditos. Esta vez se trata de escarbar en los archivos del trío América y conformar Heritage II: Demos/Alternate Takes 1971-1976 como una continuación del primer volumen publicado en 2017. En esta ocasión las canciones se han centrado, excepto las dos primeras, en dos álbumes producidos por George Martin: Holiday de 1974 y Hideaway del 76. El sexto trabajo de América fue Hideaway, grabado en el Caribou Ranch de Nederland, en el estado de Colorado cuando América estaba culminando su carrera en Warner Bros. Allí encontramos "Amber Cascades", una canción de Dewey Bunnell con una letra abstracta de tonos espirituales cuyo arrope instrumental evoca el soleado sur de California bajo el sol. La mezcla alternativa que podemos escuchar por primera vez de su tercera toma enfatiza el carácter de la composición en sí misma, sin las armonías vocales ni la orquestación que escuchamos en su edición original. Hace exactamente 45 años, los Eagles alcanzaban el primer puesto de las listas con el álbum One Of These Nights. Fue el aldabonazo definitivo en aquel verano de 1975, consiguiendo con él un Grammy como mejor grupo de pop tras permanecer durante cinco semanas en la cima de las listas generales. Pero Bernie Leadon abandonaría la banda en diciembre de ese mismo año al no comulgar con la dirección musical tomada. El álbum One of These Nights nos dejó aún cierto protagonismo de Bernie Leadon, que participó en la composición de hasta tres de las nueve piezas del trabajo, incluyendo "Hollywood Waltz", un tema que pasó demasiado inadvertido y en el que compartía autoría con Don Henley, Glenn Frey y su hermano, Tom Leadon, que había sido socio fundador de Mudcrutch, la primitiva banda de Tom Petty. Tras tocar el bajo con Linda Ronstadt, se unió a Silver, un grupo de country-rock californiano. En 2007, Tom Petty volvió a contar con su tocayo en la reforma de Mudcrutch. Sin abandonar a la banda californiana, el pasado miércoles, Don Henley cumplía 73 años, desde su nacimiento en la tejana Gilmer y crecer en Linden. Militó en los Four Speeds, que pasaron a llamarse Felicity, luego estuvo en Shiloh y de ahí a los Eagles. Por primera vez en su carrera, Don Henley logró hace cinco temporadas que uno de sus álbumes en solitario alcanzara la cima de las listas. Cass County, su último trabajo, debutó en el No. 1 de las de country. El artista tejano regresó de manera decidida a los sonidos de sus comienzos con un álbum que rezuma tradición en el fondo y nl las formas. La estrecha colaboración entre Don Henley y Stan Lynch, socio fundador de los Heartbreakers de Tom Petty, fue vital en la composición de muchos de los nuevos temas, pero en canciones de la categoría de “Waiting Tables”, posiblemente la mejor de aquel trabajo, participaron también Timothy B. Schmit y Steuart Smith en la creación y contó con Jamey Johnson en los coros. “Take It Easy” de los Eagles fue la canción con la que comenzamos la primera temporada de TOMA UNO allá por 1973 y es la que hoy escuchamos para cerrar la número 47 del programa. Aunque no estaremos en antena, seguiremos en las redes sociales y nos encantaría que fuera posible vernos en los conciertos, porque la música sigue siendo cultura y apoyamos una #cultura segura. Confiamos en volver a primeros de Septiembre en la nueva temporada de Radio 3. Nos encantaría seguir cumpliendo años juntos. Escuchar audio

Esta vez queremos mostrar la faceta más tradicional, la más apegada a las raíces. En muchos casos, es la cara menos conocida de una mujer que ha sido capaz de hacer de su versatilidad una de sus características fundamentales. El pasado miércoles fue el cumpleaños número 74 de Linda Ronstadt. A lo largo de su carrera, ha cantado temas de todos los estilos musicales imaginables, desde country a opera y comedia musical, pasando por folk, rhythm and blues, rock'n'roll, pop o música latina. En todos los casos, su voz ha brillado tanto que se ha convertido en una de las vocalistas femeninas de mayor prestigio. No busques la perfección en una voz que no sea la de Linda Ronstadt. Trístemente, el Parkinson la ha obligado a dejar de hacerlo. Pero hoy estamos dispuestos a rescatar esa voz insuperable seleccionando algunas de sus canciones más cercanas a la tradición. La mayor parte de ellas no son las que suenan habitualmente cuando se recuerda su carrera. Así, hemos abierto el programa con esta versión inédita de marzo de 1973 a “Lighting Bar Blues”, un tema de Hoyt Axton que Commander Cody cantaron de forma extraordinaria. La mayor sorpresa está en el hecho de que Linda Ronstadt tocaba el fiddle junto al también violinista Gib Guilbeau,que hizo también los coros vocales junto a Herb Pedersen. En 1956, Wanda Jackson grabó por primera vez una canción compuesta por Dick Reynolds y Jack Rhodes, que fue un éxito en el 62 por los Springfields, la banda familiar londinense en la que militaba Dusty Springfield. Era “Silver Threads And Golden Needles”, grabada más tarde por artistas de country como Skeeter Davis, Hawkshaw Hawkins, los Everly Brothers, Rose Maddox, Jody Miller o los Pozo-Seco Singers de Don Williams. En 1969, Linda Ronstadt la incluiría de esta forma en su LP de debut en solitario, Hand Snow… Home Grown. Decimos “de esta forma”, porque cuatro años más tarde, en el 73, realizaría una nueva versión, mucho menos enraizada, en su álbum Don't Cry Now. John D. Loudermilk fue bien conocido como compositor en los 50 y 60 dejando canciones para la historia como “Break My Mind”, que George Hamilton IV cantó por primera vez en el 67 y que Linda Ronstadt llevó a su disco de debut, Hand Snow… Home Grown, dos años más tarde. Al margen de un sinfín de artistas que echaron mano en alguna ocasión del tema, los Flying Burrito Brothers, con Gram Parsons al frente, también la cantaron, aunque quedó fue de sus álbumes oficiales. De aquel binomio mítico formado por Lester Flatt y Earl Scruggs resultaba evidente que este último estaba dispuesto a ampliar sus horizontes desde la separación de la pareja en 1969. Tres años después editó I Saw The Light With Some Help From My Friends junto a sus tres hijos, Gary, Randy y Steve, y una pléyade de invitados como la Dirt Band, Tracy Nelson o Linda Ronstadt, con quien realizó una versión sublime del clásico de Merle Haggard “Silver Wings”. Tras la publicación en 1968 del tercer disco de los Stone Poneys, Kenny Edwards dejó el grupo tras una gira y Linda Ronstadt se quedó sola con la obligación de grabar un nuevo Lp para el Capitol. Así, al año siguiente vió la luz Hand Sown… Home Grown, un trabajo de muy escasa repercusión. Pero las cosas parecieron cambiar con su siguiente trabajo. Linda consiguió la nominación para el Grammy con "Long Long Time", incluida en el álbum Silk Purse de 1970. Pero hoy hemos preferido escuchar la versión en directo que realizó en el Troubadour de Los Angeles por aquellas fechas. Su compositor, Gary White, es un tejano al que conocimos como bajista de Circus Maximus, una banda de Austin de la segunda mitad de los 60, en la que militaba Jerry Jeff Walker. Cuando Linda Ronstadt se lanzó a la aventura en solitario, comenzó a reclutar músicos del Troubadour para formar su propia banda de acompañamiento. Instrumentistas como Bernie Leadon, Glenn Frey, Don Henley y Randy Meisner pasaron a ser sus nuevos compañeros, de tal forma que a su alrededor se estaban gestando los Eagles. En Silk Purse había una versión de “He Darked the Sun”, una canción de Gene Clark y Bernie Leadon en el álbum The Fantastic Expedition of Dillard & Clark de dos años antes. Pero Linda realizó una llamada Nashville version, con un sonido más propio de la versión original que hoy hemos querido recuperar. Ha pasado medio siglo desde la publicación de Silk Purse, en 1970, su segundo disco en solitario. Su apertura era esta versión de “Lovesick Blues”, un tema aparecido en los años 20 en un musical al que Hank Williams puso en el mapa sonoro cuando empezó a actuar en el Louisiana Hayride y lo llevó al primer lugar de las listas en el 49. Grabado en los Cinderella Studios de Nashville, fue la única vez en su carrera que la artista de Arizona se acercó a la Music City para grabar sus canciones. En aquella ocasión, Linda contó con músicos de la altura de Bernie Leadon, Weldon Myrick, Buddy Spicher, Troy Seals o Kenny Buttrey. El legendario Troubadour de Los Angeles fue la cuna de un buen número de artistas convertidos en referentes de la música popular con el paso del tiempo. Aquel local de West Hollywood del que James Taylor decía que era “como un cenicero puesto boca abajo”, vio nacer al artista de Boston, además de a Buffalo Springfield, los Byrds, Jackson Browne, Bonnie Raitt, Linda Ronstadt o los Eagles, cuyos primitivos miembros estaban en la banda de acompañamiento de Linda Ronstadt. Con ellos editó su tercer álbum, de título homónimo en 1972, con un claro sonido country‑rock grabado entre California y Alabama con la producción de John Boylan. Como muestra de su versatilidad, Linda se acercó al honky tonk con una versión de “Crazy Arms”, el primer No.1 de Ray Price en 1956. La producción de John Boylan permitió también que otros músicos como Herb Pedersen, Gib Guilbeau, Sneaky Pete, Buddy Emmons, Jimmy Fadden de la Nitty Gritty Dirt Band o John David Souther participaran en el proyecto. Aquel disco fue, en cierta forma, la puerta para conocer también a nuevos compositores como Eric Kaz, Jackson Browne, Livingston Taylor o Eric Andersen, pero también recurrió a mitos de la categoría de Woody Guthrie, Harland Howard, Hank Cochran o Johnny Cash. Del Hombre de Negro, que llevó a la vocalista a su programa de televisión en sus comienzos, eligió “I Still Miss Someone”, una pieza de finales de los 50 que había compuesto con su sobrino, Roy Cash, Jr. y que conocimos cuando grabó en la prisión de Folsom. Una de las vocalistas favoritas de Linda Ronstadt es Patsy Cline, cuya primera grabación en el sello Decca, "I Fall To Pieces", pasaría a ser el mayor de sus éxitos, consiguiendo llegar por primera vez a la cima de las listas de country poco antes de sufrir un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville. La explosiva facilidad de Linda en sus años de Capitol Records para interpretar clásicos como este sorprendió a muchos. En su tercer disco en solitario, con su nombre en el título y editado en 1972, dejó constancia de su respeto por la tradición y de su sensibilidad extrema. Linda Ronstadt comenzó a trabajar con John Boylan en un nuevo disco para el sello Asylum Records, al que se unió John David Souther, con el que mantenía una estrecha relación, antes de encontrar a Peter Asher -antiguo miembro de Peter & Gordon- en el Bitter End de New York. El álbum Don't Cry Now salió al mercado en 1973 tras un año de sesiones, 150.000 dólares invertidos y tres productores. Aquel disco era fantástico, pero nosotros hoy estamos centrados en canciones más tradicionales. Linda había fichado por Asylum, pero debía un álbum a Capitol por contrato. Ese disco que se tituló Heart Like A Wheel y fue publicado en el 74, mezclando antiguas canciones con nuevos temas, incorporando country, rock y rhythm and blues. De todos es recordada su versión al clásico de Hank Williams "I Can't Help It (If I'm Still In Love With You)", donde Emmylou Harris hacía las armonías vocales, la llevó al segundo lugar de las de country y a conseguir un Grammy. Pero esta versión de “Honky Tonk Blues”, también de Hank Williams, que contaba la historia de un joven granjero que deja la granja familiar para irse a la ciudad, fue grabada en octubre de 1974 de nuevo junto a Emmylou y quedó inédita durante 25 años. Es muy posible que Linda Ronstadt y Patsy Cline sean las dos vocalistas más sobresalientes de la historia de la música, con una versatilidad incomparable. Patsy sufrió un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville, se fracturó la cadera y tuvo importantes heridas en la cabeza al salir despedida por el parabrisas. Fue hospitalizada durante varios meses y, apoyada aún en sus muletas, grabó una composición de Willie Nelson llamada "Crazy", que pasaría a ser su canción más vendida. Linda Ronstadt la recordó de esta forma en Hasten Down The Wind, un trabajo de 1976 que llegó tras publicar Prisoner In Disguise Ronstadt un año antes y donde eligió canciones de amigos y compositores cercanos. No olvidemos que la madre de Linda era alemana y, sobre todo que su padre era mejicano. Este último, Gilbert, cantaba con ella y sus otros dos hijos canciones de su tierra natal en los pocos ratos de ocio que les permitía la ferretería que regentaban. Nuestra invitada de hoy nunca olvidó aquellas raíces, no solo en los distintos álbumes dedicados íntegramente a canciones hispanas, sino a lo largo de toda su carrera. Como ejemplo, hemos escogido “Lo siento mi vida”, un tema propio, creado junto a su compañero en los Stone Poneys, Kenny Edwards, y a su padre Gilbert, para el álbum Hasten Down The Wind de 1976. En 1977, Linda Ronstadt publicaba su octavo álbum de estudio, Simple Dreams, convertido en una de las más altas cotas de su carrera y vendiendo más de tres millones de copias. Es el último de los discos en los que nos vamos a detener hoy para celebrar el cumpleaños número 74 de su protagonista. Aquel registro, además, fue el encargado de desplazar del No.1 de las listas de pop al mítico Rumours de Fleetwood Mac… y a Elvis Presley de la cabecera de las de country. Producido por Peter Asher, la fórmula fue sencilla: recoger algunas de las grandes canciones interpretadas por una de las voces más distinguida, arropada por los músicos más relevantes del momento, incluidos los Eagles. Para conmemorar los 40 años desde su lanzamiento, se reeditó el disco original con tres temas de bonificación grabados en directo en un concierto especial realizado por la cadena HBO en 1980. Entre ellas estaba "Blue Bayou", un tema de Roy Orbison que la vocalista de Arizona cantó en directo en inglés y castellano. Escuchar audio

Transmitido el jueves 16 de julio 2020. Día Internacional de las Habilidades de la Juventud * Entrevista: Doctorado en Desarrollo Sostenible, reconocido como "Programa en Desarrollo" por Conacyt: Dr. Oscar Frausto. NUESTRAS SECCIONES ¡Eureka! Notas curiosas de ciencia y tecnología: Polvo de silicio y nano robots... Sabías que…: Datos en torno al Día Internacional de las Habilidades de la Juventud... Ciencia en México: Vitamina C y la pandemia... Efemérides de ciencia y tecnología: La Madame Curie del Bronx: Rosalyn S. Yalow... Letras en Radio, con Kyoko Castañeda: Recomendación de libros para el verano... Efemérides de la música: Recordaremos a Bernie Leadon y Brian May... Noticias, eventos y más...

Church of Scientology - We Stand Tall (1990) Mungo Jerry - We're OK (1977)  Spanky and Our Gang - I'd Like To Get To Know You (1968) Alan Thicke - That Boston Dandy (1969) THAT Alan Thicke. There are three of these songs that I can find, Alan Thicke fellating Bobby Orr on 45. Must have been some paycheck, eh. I mean, he was great and all, but he must have been embarrassed. I'm embarrassed for him.  Aerosmith - Seasons of Wither (1974) Alice Cooper (with Marcella Detroit) Millie and Billie (1978) Eric Burdon & The Animals - All Is One (1967) Andy Williams - Wichita Lineman (1969)  Paul Kantner, Grace Slick & Paul Freiberg - Your Mind Has Left Your Body (1973) Barry McGuire & the Doctor - South of The Border (1971) From PopMatters:  McGuire and Hord got together as a duo and put out one album in late 1970, appropriately entitled Barry and the Doctor. They were joined by a top-notch group of side musicians including the Byrd's Chris Hillman, the Eagles' Bernie Leadon, the Flying Burrito Brothers' "Sneaky" Pete Kleinow, Dillard and Clark's Byron Berline, and even an uncredited Herb Albert. The album had a loose, bluesy feel and a folkie back to the land sentimentality. It was a critical success and a commercial failure. McGuire reported that the album's recording was fueled by massive amounts of cocaine and resultant unpredictable behavior. It was McGuire's last secular album before becoming a born-again Christian. Barry and the Doctor has since become a cult classic whose unavailability enhanced its reputation as one of the great lost albums of the era. It's recently been re-released. The question then becomes, does the actual music live up to its hype? The answer is "yes", but it is a very good record, not a great one. The record has a pleasant instrumental vibe and offers innocent messages. The lyrics are a bit corny, generally extolling life in the country versus the city as a heavy environmental message—a common trope of California tunes from the period (just ask Canned Heat, Jesse Colin Young, etc.). Despite the reported coke use, Hord displays his guitar chops by playing smoothly, and McGuire's 12-string beautifully rings out the riffs. The material never sounds rushed. Instead, it flows and often folds intricately upon itself. One would presume the artists smoked pot or took acid instead of snorting cocaine because of the material's psychedelic sensibility. Beach Boys - Rollin' Up To Heaven (1975)  Black Oak Arkansas - Hot & Nasty (1971) Bruford - Back To The Beginning (1978) Chevy Chase - Rapper's Plight (1980) Chris Knight & Maureen McCormick - There Is Nothing More To Say (1973) Completely new and utterly meaningless lyrics based on the same title by The Millennium. Colin Bluntstone - I Don't Believe In Miracles (1972) Creedence Clearwater Revival - Feelin' Blue (1969)  Dean Martin - By The Time I Get To Phoenix (1969) Frank Sinatra - I Sing The Songs (1978) "I Write The Songs" rewritten for the voice of god.  Frank Zappa - Andy (1980)  Gabe Kaplan - Up Your Nose (With A Rubber Hose) (1977) Co-written by Greg Prestopino. He has written songs for the likes of Celine Dion ("Show Some Emotion"), Natalie Cole ("Wild Women Do"), Puff Daddy ("Can't Nobody Hold Me Down"), Aaron Neville ("Beautiful Night"), Bette Midler ("Let Me Drive"), Jennifer Love Hewitt ("In Another Life") and Matthew Wilder ("Break My Stride"). Aaron Carter and Unique ll are also among the many artists who have recorded his songs. And here he is.  Genesis - Down And Out (1979)

The fifth studio album by the Eagles would become their biggest commercial success (not counting Greatest Hits (1971-1975), another monster album in its own right). Hotel California has been certified 26x platinum, and virtually every track was played on rock stations, not just the singles "New Kid in Town", "Life in the Fast Lane" and the title track, "Hotel California."This album was recorded after Bernie Leadon had left the group. This multi-instrumental founder was a strong country influence, and when he was replaced by rocker Joe Walsh the group took on a stronger rock orientation. “Hotel California” is a bit of a concept album with the word “Hotel” signifying the daily experience of the band members, and the word “California” taking on a mythological symbolism for the state, the United States, and/or the West. The songs speak of loss of innocence, corruption, illusion versus reality, and of course strained and broken relationships.Friend of the show, Steve Hardin joins us in this week's episode.We hope you enjoy this look at one of the most storied albums of the 70's. Try and Love AgainBassist and high tenor Randy Meisner wrote and sings lead on this track about starting over after a broken relationship. "right or wrong, what's done is done, it's only moments that we borrow. But the thoughts will linger on of the lady and her song when the sun comes up tomorrow." Meisner would be replaced by Timothy B. Schmit after this album.Wasted TimeDon Henley takes on lead duties for this break-up song. Drummer Henley would take lead singer duties for about half the songs on the album. "So you can get on with your search, baby, and I can get on with mine. And maybe someday we will find that it wasn't really wasted time."New Kid in TownGlen Frey takes the lead on this song, which was the first single from the album. Don Henley has the main harmony vocals, and would attrribute the song to the fleeting nature of fame, especially in the music business.The Last ResortHenley wrote and sings this epic protest song about finding Paradise in California, and destroying it. The group would have to re-record it a number of times because the studio they were using in Miami was adjacent to a studio Black Sabbath was using to record Technical Ecstasy, and the sound kept bleeding through the walls. ENTERTAINMENT TRACK:”Rocky (Gonna Fly Now)” from the motion picture "Rocky"Sylvester Stallone wrote and starred in the movie which would launch his career STAFF PICKS:“The Wreck of the Edmund Fitzgerald” by Gordon LightfootRob's staff pick tells the story of a shipwreck in Lake Superior that occurred on November 10th 1975. Lightfoot was inspired by an article in Newsweek called "The Cruelest Month." The Edmund Fitzgerald was the largest ship on Lake Superior.“Fly Like an Eagle” by Steve Miller BandFriend of the show Steve Hardin brings us the intro and the song proper from Steve Miller Band. It rose to #2 on the charts, held back by Barbara Streisand's "Evergreen" from A Star Is Born. The band had been playing the song in concert since 1973, but it didn't make it to an album until now.“It's a Long Way There” by Little River BandWayne brings us the first hit in the United States by Australia's Little River Band. This would begin a string of hits from the band with a west coast feel and tight harmonies.“Beth” by KissBruce features an unusual ballad from the normally hard rocking Kiss. Ironically, this is the highest charting single by the group, hitting #7 on Billboard's Hot 100.LAUGH TRACK:"Disco Duck" by Rick DeesThis week's podcast finishes off on a fowl note.

Here's a look at the award-winning Friday edition of 'Today in Rock History' featuring: Jonah Hill is 36. Chris Robinson is 53. Alan Parsons is 71. The Alan Parsons Project. Remember "Eye In The Sky"? I DO! Before starting his own "project", Alan was an assistant engineer on such classic albums as "Abbey Road" and "Dark Side of the Moon." Peter Criss is 74. KISS drummer who was fired THREE TIMES. In 1957, Elvis Presley was drafted. In 1974, "The Godfather: Part II" opened nationwide. In 1975, Joe Walsh joined The Eagles, replacing Bernie Leadon who'd left for a superstar solo career. In 1996, the classic film that is "Beavis & Butt-Head Do America" was released.

Here's a look at the award-winning Friday edition of 'Today in Rock History' featuring: Jonah Hill is 36. Chris Robinson is 53. Alan Parsons is 71. The Alan Parsons Project. Remember "Eye In The Sky"? I DO! Before starting his own "project", Alan was an assistant engineer on such classic albums as "Abbey Road" and "Dark Side of the Moon." Peter Criss is 74. KISS drummer who was fired THREE TIMES. In 1957, Elvis Presley was drafted. In 1974, "The Godfather: Part II" opened nationwide. In 1975, Joe Walsh joined The Eagles, replacing Bernie Leadon who'd left for a superstar solo career. In 1996, the classic film that is "Beavis & Butt-Head Do America" was released.

About This Episode With a refreshed lineup and newfound energy, The Nitty Gritty Dirt Band remains one of the most accomplished bands in American roots music. Following an extended 50th anniversary tour, the ensemble grew to a six-piece in 2018 for the first time since their early jug band days. The group now includes Jeff Hanna (acoustic guitar, electric guitar), Jimmie Fadden (drums, harmonica), Bob Carpenter (keyboards), Jim Photoglo (bass, acoustic guitar), Ross Holmes (fiddle, mandolin), and Jaime Hanna (electric and acoustic guitar). All six members also sing, and when their voices merge, the harmonies add a powerful new component for the legendary band. And with the father-son pairing of Jeff and Jaime Hanna, the band carries on a country music tradition of blood harmony. Jeff Hanna says, "It's like when you throw a couple of puppies into a pen with a bunch of old dogs. All of a sudden, the old dogs start playing, you know? That's kind of what's happened with us. The basic vibe is so up and positive, and the music– we're hearing surprises from Jaime and Ross all night. And they're encouraging us in the same way to take more chances. It's opened a lot of doors for us, musically, and the morale is really great. That's important for a band that's been out there for over 53 years." The Nitty Gritty Dirt Band played their first gig in 1966 in Southern California as a jug band and by 1969 had become a cornerstone of the burgeoning country-rock community. Their career breakthrough came in 1970 with the release of the record Uncle Charlie & His Dog Teddy and the single "Mr. Bojangles," a folksy Top 10 pop hit that remains a staple of their live show. During a tour stop in Nashville around that time, Earl Scruggs and his family came backstage to say hello. That introduction led to a friendship and some of the connections the band needed to record Will the Circle Be Unbroken. That three-disc album brought Nitty Gritty Dirt Band together with a number of country, folk, and bluegrass legends. Heroes like Roy Acuff, Mother Maybelle Carter, Jimmy Martin, Merle Travis, and Doc Watson joined the scruffy, young band to record country music standards such as "I Saw the Light" and "Keep on the Sunnyside." The acclaimed project is considered a landmark recording in American music. Nitty Gritty Dirt Band earned a pop resurgence in 1980 with "An American Dream" and "Make a Little Magic." Those singles also found traction on the country chart, setting the stage for a major run at country radio. The band secured 16 Top 10 country hits between 1983 and 1990, including three No. 1 singles: "Long Hard Road (The Sharecropper's Dream)," "Modern Day Romance," and "Fishin' in the Dark." Bernie Leadon, a founding member of The Eagles, played in the band from 1986 to 1988 filling a vacancy by longtime member John McEuen. With so much material to work with, the band is making it a point to shuffle the set lists more often, meaning that this isn't the same Dirt Band show from years past. "We're fortunate that we've got a deep songbook. That's been on our list, to resurrect some of the tunes we haven't done in a while, in addition to some new stuff," Hanna says. At the peak of their country career, the band toured Europe with Johnny Cash and June Carter Cash, who hinted that they'd love to appear on a sequel to Will the Circle Be Unbroken, if the band ever decided to make one. That gesture convinced the band to get back in the studio to record another all-star album. Circle Volume II featured Johnny and June, as well as Rosanne Cash, Emmylou Harris, Levon Helm, John Hiatt, Bruce Hornsby, John Denver, Ricky Skaggs, New Grass Revival, and many other marquee names – not to mention encore performances by Roy Acuff, Jimmy Martin, and Earl Scruggs. Released in 1989, the album won three Grammys and a CMA Award for Album of the Year. As the country music landscape shifted toward a youth market, the Nitty Gritty Dirt Band kept on touring and recording. They played on two projects by The Chieftains, cut a song with Karla Bonoff for an album dedicated to the 1996 Olympics, and contributed "Maybe Baby" to a Buddy Holly tribute, Not Fade Away. Another collaborative album, Will the Circle Be Unbroken, Volume III, arrived in 2003. Soon after, the band earned an additional Grammy for "Earl's Breakdown," which they recorded with Earl Scruggs, Randy Scruggs, Vassar Clements and Jerry Douglas. Meanwhile, both "Mr. Bojangles" and Will the Circle Be Unbroken were inducted into the Grammy Hall of Fame. The Nitty Gritty Dirt Band took a moment to acknowledge their incredible history by filming a 50th anniversary concert event at the Ryman Auditorium in Nashville. Guests for that Circlin' Back special included early Dirt Band member Jackson Browne, Sam Bush, Rodney Crowell, Vince Gill, Alison Krauss, John Prine, Jerry Douglas, Byron House, Jerry Jeff Walker, and longtime Dirt Band member Jimmy Ibbotson. The concert aired as a nation-wide PBS Pledge special in 2016 and won a regional Emmy for Special Event Coverage. Today, the Nitty Gritty Dirt Band consists of Jeff Hanna, Jimmie Fadden, Bob Carpenter, for years known as "the new guy," and Jim Photoglo, a friend of the band whose credits include cowriting "Fishin' in the Dark", as well as touring and recording with Carole King, Dan Fogelberg, and Vince Gill. Newest members Jaime Hanna and Ross Holmes also bring years of experience to the band. Hanna toured and recorded with The Mavericks and Gary Allan, while Holmes toured and recorded with Mumford & Sons and Bruce Hornsby. "The energy these days is so up -- and our fans have responded in a really great way," Hanna says. "As a fan of other bands, I know how complicated it can be when members come and go. You can either embrace that or you don't. Our fans are really gracious and I appreciate that. It's been a really good run and there's a lot of daylight ahead of us." About Michael Perry Michael Perry is a New York Times bestselling author, humorist and radio show host from New Auburn, Wisconsin. Perry's bestselling memoirs include Population 485, Truck: A Love Story, Coop, and Visiting Tom, and his latest, Montaigne in Barn Boots: An Amateur Ambles Through Philosophy. His first book for young readers, The Scavengers, was published in 2014 and first novel for adult readers, The Jesus Cow, was published in May of 2015. Raised on a small Midwestern dairy farm, Perry put himself through nursing school while working on a ranch in Wyoming, then wandered into writing. He lives with his wife and two daughters in rural Wisconsin, where he serves on the local volunteer fire and rescue service and is an intermittent pig farmer. He hosts the nationally-syndicated "Tent Show Radio," performs widely as a humorist, and tours with his band the Long Beds (currently recording their third album for Amble Down Records). He has recorded three live humor albums including Never Stand Behind A Sneezing Cow and The Clodhopper Monologues. Learn more about Michael and where to get his publications at www.sneezingcow.com. Follow Michael Perry www.sneezingcow.com Twitter Facebook Instagram Other Ways to Stream Public Radio Exchange: www.prx.org/tentshowradio Podcast: www.libsyn.com/tentshowradio iTunes: www.itunes/tentshowradio Stitcher: www.stitcher.com/tentshowradio Player.FM: www.player.FM/tentshowradio iHeart Radio: www.iheart.com  

LWAN: Episode #15 featuring Alan Laney, singer, songwriter, multi-instrumentalist who has played with a who's who list of country music stars, including Willie Nelson, Bernie Leadon, Carl Jackson, Al Perkins, Kix Brooks, Billy Graham, and many others...sponsored by Liebers Guitar and Mandolin Company and Incredibow.

CW: Rape, Suicide, Cutting, Racism, Mental Illness It’s Witchy Woman Week on Pod Sematary! Chris & Kelsey join the weirdos and live deliciously in an episode that's worth selling your soul! The Classic Film: The Craft (1996) “A newcomer to a Catholic prep high school falls in with a trio of outcast teenage girls who practice witchcraft, and they all soon conjure up various spells and curses against those who anger them.” (IMDb.com). The Craft was pretty iconic back when our hosts were in school, but how has this goth classic aged over the years? The Modern Film: The Witch (2015) “A family in 1630s New England is torn apart by the forces of witchcraft, black magic, and possession” (IMDb.com). Is this critical-darling-cum-popular-dud more than just "what if The Crucible but spoopy?" Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1162863020357275648 Audio Sources: "Batman Forever" produced by Warner Bros. & PolyGram Filmed Entertainment "Carrie" produced by Red Bank Films "The Craft" produced by Columbia Pictures & Red Wagon Entertainment "How Soon is Now" written by Johnny Marr and Morrissey & performed by Love Spit Love "Office Space" produced by Twentieth Century Fox, et al. "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Tomorrow Never Knows" written by Lennon–McCartney and performed by Our Lady Peace "The Witch" produced by Parts and Labor, et al. "Witchy Woman" written by Bernie Leadon & Don Henley and performed by The Eagles

The Subdudes cofounding singer, guitarist, and songwriter was also a member of the beloved Li'l Queenie and the Percolators, as well as the supergroup, Tiny Town. He's an excitable boy who wears his heart on his sleeve, but unlike one of the Troubled Men, and at least one previous guest, Tommy manages to keep his pants on. Topics include a brass band fracas, a torrential rain, the Stones show, the Big Island Jazz and Blues Festival, a big band, the Edgard, La. connections, Guys and Dolls, smartphone learning, the original Continental Drifters, the Subdudes formation, Fort Collins, Colorado, Pete Anderson, Darcy Malone, decaf coffee, surnames of the past, Tiny Town, Bernie Leadon, Glyn Johns, artistic courage, a custom console, Ray Ganucheau, a reformation, a new record, Bruce Barielle, Chuck Prophet, mortality, Keith Keller, etiquette, Keith Richards, Ron Wood, band alchemy, Bill Wyman, a bass player joke, and much more. Subscribe, review, and rate on your favorite podcast platform. Follow and share on social media, and spread the Troubled Word. Intro music: Styler/Coman Outro music: One Word (Peace) by the Subdudes from their album, Behind The Levee

The Subdudes cofounding singer, guitarist, and songwriter was also a member of the beloved Li’l Queenie and the Percolators, as well as the supergroup, Tiny Town. He’s an excitable boy who wears his heart on his sleeve, but unlike one of the Troubled Men, and at least one previous guest, Tommy manages to keep his pants on. Topics include a brass band fracas, a torrential rain, the Stones show, the Big Island Jazz and Blues Festival, a big band, the Edgard, La. connections, Guys and Dolls, smartphone learning, the original Continental Drifters, the Subdudes formation, Fort Collins, Colorado, Pete Anderson, Darcy Malone, decaf coffee, surnames of the past, Tiny Town, Bernie Leadon, Glyn Johns, artistic courage, a custom console, Ray Ganucheau, a reformation, a new record, Bruce Barielle, Chuck Prophet, mortality, Keith Keller, etiquette, Keith Richards, Ron Wood, band alchemy, Bill Wyman, a bass player joke, and much more. Subscribe, review, and rate on your favorite podcast platform. Follow and share on social media, and spread the Troubled Word. Intro music: Styler/Coman Outro music: One Word (Peace) by the Subdudes from their album, Behind The Levee

Gestur þáttarins að þessu sinni er fjölmiðlamaðurinn Jakob Bjarnar Grétarsson sem mætir með uppáhalds ROKKplötuna sína kl. 21.00. Plata þáttarins er svo fjórða stúdíóplata Eagles, One of these nights, sem kom út 10. júní 1975 og sat í toppsæti bandaríska vinsældalistans um þessar mundir fyrir öllum þessum árum. Sat á toppnum 5 vikur í röð. One of these nights er eiginlega platan sem gerði Eagles að stjörnum og þrjú laga plötunnar náðu inn á topp 10 á bandaríska smáskífulistanum. Eitt lagið; Lyin eyes hlaut sveitin Grammy verlaun fyrir, en það fór alla leið á toppinn á vinsældalistanum. Hin tvö eru titillagið og Take it to the limit. Platan seldist strax í fjóum milljónum eintaka og var tilnefnd til Grammy verðlauna í flokknum plata ársins. One of These Nights er síðasta plata Eagles sem gítarleikarinn Bernie Leadon er með á. Hann fór með sveitinni í túrinn sem farinn var til að fylgja plötunin eftir en hætti svo og í hans stað kom Joe Walsh sem er enn að spila með Eagles. Sjöunda lag plötunnar heitir Vision og er eina lag Eagles þar sem sólógítarleikarinn Don Felder syngur aðalrödd, en hans draumur var alltaf að koma fleirum af sínum lögum á framfæri hjá Eagles. Felder og trommarinn syngjandi, Don Henley sömdu lagið saman. Don Henley er einn eftir af þeim sem voru í Eagles á þessum tíma en hljómsveitin er enn starfandi. Með One of these nights varð Eagles ein vinsælasta hljómsveit heims. Eagles er enn eitt stærsta tónleikaband heims. Við heyrum nokkur lög af One of these nights í Füzz í kvöld. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með KISS! Skepna - Við viljum blóð Jet Black Joe - Big fat stone Black sabbath - Supernaut Brainpolice - Rooster booster The Eagles - One of these nights (plata þáttarins) Buzzcocks - What do i get Smashing Pumpkins - Today The Beatles - Rain Primordial - To Hell or the hangman Lights on the Highway - Miles behind us Small Faces - You better believe it Bubbi og Dimma - Ég vil ekki stelpu eins og þig The Struts - In love with a camera SÍMATÍMI Led Zeppelin - Immigrant song Eagles - Hollywood waltz (plata þáttarins) The Shadows - Apache (óskalag) Anti Nowhere league - Streets of London (óskalag) Rage Against The Machine - Maggie´s farm Tyler Bryant and the Shakedowns - Weak and weepin (óskalag) Eagles - Visions (plata þáttarins) Hellacopters - No song unheard A+B Kiss - C´mon and love me (A) Kiss - Getaway (B) Joyous Wolf - Undesired JAKOB BJARNAR GESTUR FUZZ Rolling Stones - Neighbours JAKOB BJARNAR II Rolling Stones - Hang fire JAKOB BJA

Gestur þáttarins að þessu sinni er fjölmiðlamaðurinn Jakob Bjarnar Grétarsson sem mætir með uppáhalds ROKKplötuna sína kl. 21.00. Plata þáttarins er svo fjórða stúdíóplata Eagles, One of these nights, sem kom út 10. júní 1975 og sat í toppsæti bandaríska vinsældalistans um þessar mundir fyrir öllum þessum árum. Sat á toppnum 5 vikur í röð. One of these nights er eiginlega platan sem gerði Eagles að stjörnum og þrjú laga plötunnar náðu inn á topp 10 á bandaríska smáskífulistanum. Eitt lagið; Lyin eyes hlaut sveitin Grammy verlaun fyrir, en það fór alla leið á toppinn á vinsældalistanum. Hin tvö eru titillagið og Take it to the limit. Platan seldist strax í fjóum milljónum eintaka og var tilnefnd til Grammy verðlauna í flokknum plata ársins. One of These Nights er síðasta plata Eagles sem gítarleikarinn Bernie Leadon er með á. Hann fór með sveitinni í túrinn sem farinn var til að fylgja plötunin eftir en hætti svo og í hans stað kom Joe Walsh sem er enn að spila með Eagles. Sjöunda lag plötunnar heitir Vision og er eina lag Eagles þar sem sólógítarleikarinn Don Felder syngur aðalrödd, en hans draumur var alltaf að koma fleirum af sínum lögum á framfæri hjá Eagles. Felder og trommarinn syngjandi, Don Henley sömdu lagið saman. Don Henley er einn eftir af þeim sem voru í Eagles á þessum tíma en hljómsveitin er enn starfandi. Með One of these nights varð Eagles ein vinsælasta hljómsveit heims. Eagles er enn eitt stærsta tónleikaband heims. Við heyrum nokkur lög af One of these nights í Füzz í kvöld. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með KISS! Skepna - Við viljum blóð Jet Black Joe - Big fat stone Black sabbath - Supernaut Brainpolice - Rooster booster The Eagles - One of these nights (plata þáttarins) Buzzcocks - What do i get Smashing Pumpkins - Today The Beatles - Rain Primordial - To Hell or the hangman Lights on the Highway - Miles behind us Small Faces - You better believe it Bubbi og Dimma - Ég vil ekki stelpu eins og þig The Struts - In love with a camera SÍMATÍMI Led Zeppelin - Immigrant song Eagles - Hollywood waltz (plata þáttarins) The Shadows - Apache (óskalag) Anti Nowhere league - Streets of London (óskalag) Rage Against The Machine - Maggie´s farm Tyler Bryant and the Shakedowns - Weak and weepin (óskalag) Eagles - Visions (plata þáttarins) Hellacopters - No song unheard A+B Kiss - C´mon and love me (A) Kiss - Getaway (B) Joyous Wolf - Undesired JAKOB BJARNAR GESTUR FUZZ Rolling Stones - Neighbours JAKOB BJARNAR II Rolling Stones - Hang fire JAKOB BJA

Gestur þáttarins að þessu sinni er fjölmiðlamaðurinn Jakob Bjarnar Grétarsson sem mætir með uppáhalds ROKKplötuna sína kl. 21.00. Plata þáttarins er svo fjórða stúdíóplata Eagles, One of these nights, sem kom út 10. júní 1975 og sat í toppsæti bandaríska vinsældalistans um þessar mundir fyrir öllum þessum árum. Sat á toppnum 5 vikur í röð. One of these nights er eiginlega platan sem gerði Eagles að stjörnum og þrjú laga plötunnar náðu inn á topp 10 á bandaríska smáskífulistanum. Eitt lagið; Lyin eyes hlaut sveitin Grammy verlaun fyrir, en það fór alla leið á toppinn á vinsældalistanum. Hin tvö eru titillagið og Take it to the limit. Platan seldist strax í fjóum milljónum eintaka og var tilnefnd til Grammy verðlauna í flokknum plata ársins. One of These Nights er síðasta plata Eagles sem gítarleikarinn Bernie Leadon er með á. Hann fór með sveitinni í túrinn sem farinn var til að fylgja plötunin eftir en hætti svo og í hans stað kom Joe Walsh sem er enn að spila með Eagles. Sjöunda lag plötunnar heitir Vision og er eina lag Eagles þar sem sólógítarleikarinn Don Felder syngur aðalrödd, en hans draumur var alltaf að koma fleirum af sínum lögum á framfæri hjá Eagles. Felder og trommarinn syngjandi, Don Henley sömdu lagið saman. Don Henley er einn eftir af þeim sem voru í Eagles á þessum tíma en hljómsveitin er enn starfandi. Með One of these nights varð Eagles ein vinsælasta hljómsveit heims. Eagles er enn eitt stærsta tónleikaband heims. Við heyrum nokkur lög af One of these nights í Füzz í kvöld. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með KISS! Skepna - Við viljum blóð Jet Black Joe - Big fat stone Black sabbath - Supernaut Brainpolice - Rooster booster The Eagles - One of these nights (plata þáttarins) Buzzcocks - What do i get Smashing Pumpkins - Today The Beatles - Rain Primordial - To Hell or the hangman Lights on the Highway - Miles behind us Small Faces - You better believe it Bubbi og Dimma - Ég vil ekki stelpu eins og þig The Struts - In love with a camera SÍMATÍMI Led Zeppelin - Immigrant song Eagles - Hollywood waltz (plata þáttarins) The Shadows - Apache (óskalag) Anti Nowhere league - Streets of London (óskalag) Rage Against The Machine - Maggie´s farm Tyler Bryant and the Shakedowns - Weak and weepin (óskalag) Eagles - Visions (plata þáttarins) Hellacopters - No song unheard A+B Kiss - C´mon and love me (A) Kiss - Getaway (B) Joyous Wolf - Undesired JAKOB BJARNAR GESTUR FUZZ Rolling Stones - Neighbours JAKOB BJARNAR II Rolling Stones - Hang fire JAKOB BJA

Music documentaries, new music, and reflecting on a 54-year career with Jeff Hanna and Austin Plaine. Austin and I talk the inevitable dad talk and how music doc's are ruining our lives. We eventually get to his latest release and style. Jeff Hanna, front member of The Nitty Gritty Dirt Band, and I reflect on a 54-year career across multiple genres of music.    Insightful and picking up on life's subtle moments, artist and songwriter Austin Plaine shares some insight into his process. Originally from Minnesota, Austin turned away from a legal career to write and record music in Nashville, TN. Releasing his latest record on June 28th, Stratford, Austin popped into the attic to talk about his songs and style. It's Gucci-good. Follow him @austinplaine for updates and visit  for tour dates.    The Nitty Gritty Dirt Band was founded around 1966 in Long Beach, California, by singer-guitarist Jeff Hanna. As part of the Southern California scene, past members include Jackson Browne, Jimmie Fadden, Jimmy Ibbotson, Bernie Leadon, and others that have influenced and shaped the sound of American Rock music. The band's successes include a cover version of Jerry Jeff Walker's "Mr. Bojangles". Albums include 1972's Will the Circle be Unbroken, featuring such traditional country artists as Mother Maybelle Carter, Earl Scruggs, Roy Acuff, Doc Watson, Merle Travis, and Jimmy Martin. A follow-up album based on the same concept, Will the Circle Be Unbroken: Volume Two was released in 1989, was certified gold, won two Grammys, and was named Album of the Year at the Country Music Association Awards. In our conversation, we take the time to understand the 60's and the "Jug Band" era of the band's history. We interweave hidden gems like Steve Martin's backing band for "King Tut", recording Will the Circle Be Unbroken, touring the USSR, the highs and lows of a career in music, and even being banned from radio for blasphemy. The band tours to this day and you can see all their tour dates by visiting , and follow them at @nittygrittydirtband.

Aunque entre 1969 y 1973 todos lo caminos conducían al rock, no faltaron vertientes más suaves como contrapartida. Los nuevos cantantes que se acompañaban de guitarras o pianos, los nuevos folk singers, hicieron del intimismo una veta llena de matices y grandes canciones. Fueron muchos los artistas que participaron de esta sensibilidad. Hoy veremos algunos de ellos. Crosby, Stills & Nash's, asentados en California, arroparon e inyectaron nueva vida al extinto California sound, lejos ya de sus días de música surf. Guitarras puras, voces y armonías comenzaron a destacar como una élite de calidad. David Crosby procedía de los Byrds, Graham Nash de los Hollies y Stephen Stills de Buffalo Springfield (como Neil Young, que se les uniría ocasionalmente). La brillantez acústico-vocal del grupo fue pionera y también destacó como supergrupo. El trío debutó con Marrakesh express y se consolidó con su segundo LP, Dejá vu, ya como cuarteto y grabado en vivo. Pero vamos a escuchar todavía un precioso tema de su primer disco: Suite: Judy Blue Eyes Realmente, este primer disco del grupo es toda una caja de sorpresas. Otro de los temas, Guinnevere, es una preciosa canción que destaca por sus sombríos acordes arpegiados en guitarras entrelazadas a la perfección. Es una música distinta, suave, esfumada. Enmarcada en un mundo que no había cambiado para mejorar. La canción era un bálsamo para los veteranos de las manifestaciones contra la guerra del Vietnam. Decía, “Las gaviotas trazan círculos sin parar, canto coros en silencio”. Este álbum debut, Crosby, Stills & Nash, se publicó en mayo de 1969, pero se vendió a muy buen ritmo durante toda la década siguiente y llegó a ser cuádruple disco platino. La gran expectación creada por el grupo hizo que Déjà Vu, su segundo álbum publicado en marzo de 1970, llegara al primer puesto de la lista estadounidense Billboard 200. Durante su estancia en San Francisco, Young y Crosby oyeron las noticias sobre la masacre de la Universidad Estatal de Kent, en la que la Guardia Nacional reprimió una manifestación estudiantil provocando la muerte de cuatro estudiantes. Esta situación inspiró a Young a componer "Ohio", un tema grabado en apenas una semana. Y es que la música de CSN refleja los puntos de vista de la contracultura de finales de los años 60 y comienzos de los 70. Con protestas en contra de la guerra de Vietnam durante los años 70, particularmente por Crosby, el grupo no ocultaba sus inclinaciones políticas, especialmente en materia antibelicista. Graham Nash, por ejemplo, grabó una canción en respuesta a un evento político concreto. "Chicago", hacía referencia a los Chicago Seven, un grupo de siete activistas pacifistas acusados de conspiración e incitación a los disturbios en Chicago durante la Convención Nacional Demócrata de 1968. Uno de los acusados, Bobby Seale, alborotó un poquillo en el tribunal, y como resultado fue amordazado y atado a su silla durante el juicio. De Neil Young ya hemos oído su canción "Ohio". Su publicación marcó la declaración musical más atrevida hasta la fecha en relación con la guerra de Vietnam, al mencionar explícitamente el nombre de Richard Nixon y expresar la rabia y la desesperación de la contracultura. Sin embargo, la naturaleza deliberadamente tenue del cuarteto se desplomó con el éxito, y el grupo se separó después de su gira en verano de 1970. Grabaciones de varios conciertos fueron recopilados en el doble álbum 4 Way Street. Este es uno de sus directos: Love the One You're With Crosby, Stills an Nash crearon escuela y uno de sus alumnos más aventajados fue el trio América con su éxito A horse with no name. Este intimismo en la música dio nombres famosos de mujeres como Carol King, Judi Collins, Carly Simon o Joni Mitchel o de hombres como James Taylor o Neil Diamond. Como muestra… Carly Simon. Y otra muestra… James Taylor El country rock daría en este tiempo una de las bandas históricas de los setenta: The Eagles. Con Don Henley y Glenn Frey al frente Eagles fue una banda estadounidense de country rock y folk rock formada en Los Ángeles, California, en 1971, y que permaneció activa hasta el 2016, en que finalizó la carrera de la banda, con la muerte de uno de los fundadores y su vocalista Glenn Frey Con cinco sencillos y seis álbumes números uno, Eagles están entre los más destacados grupos de estudio de los años 70. El álbum de estreno homónimo del grupo fue grabado y lanzado rápidamente en junio de 1972. Con una mezcla de rock y country, entró directamente al puesto número 3 del top 40 con su primer sencillo, Take It Easy, tema compuesto por Glenn Frey y su amigo Jackson Browne. El segundo sencillo extraído del álbum fue "Witchy woman". Su segundo disco, Desperado, trata sobre viejos proscritos del Oeste, comparando su estilo de vida con el de las estrellas de la música actual; este fue el primer álbum conceptual del grupo. Durante las sesiones de grabación, Don Henley y Glenn Frey empezaron a componer juntos, firmando ocho de las once canciones del álbum, entre las que se encuentran dos de las más populares del grupo: «Tequila Sunrise» y «Desperado». Por su parte, las buenas capacidades del guitarrista Bernie Leadon con el banjo, guitarra y mandolina destacan en las canciones de bluegrass, como Twenty-One. El disco supuso un cambio significativo para el grupo. El trabajo conjunto de Henley y Frey en la mayor parte de las canciones fue el inicio de una colaboración que continuó en los siguientes años y que alejó del liderazgo al resto del grupo. Vamos a escucharles en una canción muy del Oeste: Twenty-One. En 1975 publicaron One of these nights, y supuso una más agresiva propuesta de rock. El álbum muestra la eficacia creativa de Henley y Frey componiendo en equipo, sobre todo en la pista que da título al álbum y con la que ganaron un Grammy, "One of these nights" fue número 1 en las listas de Billboard el 2 de agosto de 1975. En este momento, los conflictos dentro de la banda se habían intensificado. Las grabaciones y el estrés creado por las giras caldearon los ánimos, y los egos se enfrentaron. Entre el lanzamiento de One of these nights y la gira, Bernie Leadon abandonó el grupo, desilusionado con la dirección musical que la banda estaba tomando. Joe Walsh, un solista y guitarrista ya reconocido por entonces, se unió al grupo en 1976 y aportó un lado mucho más rockero y desenfadado a la banda, algo que Frey y Henley estaban buscando. Esto es Of These Nights El siguiente álbum del grupo, Hotel California, terminó de catapultarlos a la cima de la fama y con él ganaron otro Grammy. Salió en diciembre de 1976. "New Kid in Town", uno de los cortes del álbum, fue número uno en Billboard el 26 de febrero de 1977 y "Hotel California" alcanzó dicho puesto el 7 de mayo de 1977. El álbum contiene un buen número de joyas. "Life in the fast lane" también fue un gran éxito, y con su sonido mas hard rock, inició un giro al estilo de la banda que no fue del agrado de todos. Después de la gira, Randy Meisner abandonó la banda y se mudó de regreso a su Nebraska natal, donde comenzó su carrera en solitario. La banda lo sustituye por Timothy B. Schmit. "Hotel California" ha aparecido en varias listas como uno de los mejores álbumes de todos los tiempos y además es el trabajo de estudio de mayores ventas del grupo. Sólo en los EE UU ha vendido más de 16 millones de copias, y 32 millones a nivel mundial. Los Eagles aportan su "visión agridulce" de la sociedad estadounidense a través de las ventanas de un hotel que representa metafóricamente el mundo de las drogas. "Hotel California" es uno de los discos más vendidos de la historia y su tema estrella. La canción "Hotel California" dura 6 minutos y medio y se les pidió que la recortaran para hacerla más comercial. Don Henley se negó. Fue el primer sencillo de esa longitud en llegar a lo alto de las listas de ventas. Si ellos no la cortaron, nosotros tampoco. Así que, nos despedimos hasta la próxima semana mirando por las ventanas de este enigmático hotel. Pero, que no se nos olvide… Buenas Vibraciones!!!