Podcasts about Black Oak Arkansas

Doesn't escaping into the hills to do nothing but write music with your friends sound like the ultimate dream? By the mid-60s, this was a reality for Black Oak Arkansas, a Southern rock band that refined their sound and mastered their instruments while living off the land. Led by charismatic frontman Jim “Dandy” Mangrum, they built a reputation for their wildly entertaining live shows. By early 1974, it was a cover of a 1957 LaVern Baker song that brought the band to the mainstream. The single, appropriately titled “Jim Dandy,” is a great needle drop in a Dazed and Confused chase scene, but does the song (or any of the other music from their impressively large back catalog) hold up? This week, we're joined by special guest Josh Ireson to decide if Jim Dandy still comes to the rescue or if it's just a relic of a weird and psychedelic time. One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/onehitthunder Buy some Merch Join our Patreon Join our Facebook Group Follow us on Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Robert and Kevin get back to their regional roots with some foot-stomping Southern Rock. A perfect blend of country, blues, and hard rock with just a hint of twang. While your hosts, being native Floridians and Carolinians, were exposed to this genre of music due to their proximity, it has certainly expanded its reach globally and is appreciated worldwide. Join us as we embrace our culture and play some down-home tunes. What's this InObscuria thing? We're a podcast that exhumes obscure Rock n' Punk n' Metal and puts them in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. We hope we turn you on to something new!Songs this week include:Blackberry Smoke (w/ Paul Rodgers) – “Run With The Pack (feat. Brann Dailor)” from Can't Get Enough: A Tribute To Bad Company (2025)Black Stone Cherry – “Soulcreek” from Folklore & Superstition (2008)Hydra – “Wasting Time” from Rock The World (1977)Pride & Glory – “Losin' Your Mind” from Pride & Glory (1994)Leif De Leeuw Band – “Hard To Hold” from Mighty Fine (2024)Point Blank – “Lone Star Fool” from Point Blank (1976)Four Wheel Drive – “Ride It Like You Stole It” from House On Fire - EP (2012)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal work here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

Greg shares his journey through the music industry with Black Oak Arkansas, overcoming personal struggles, working at School of Rock and his current work with FreeWorld. Apple - https://bit.ly/3rqqZLP Spotify - https://bit.ly/3EJOGBO YouTube - https://bit.ly/3UgqsY2   TIP BUCKET If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.

Our feature interview with Greg Reding, guitarist for Landslide: A Memphis Tribute to Fleetwood Mac, dives into his 30+ years with The Memphis All-Stars, his journey in music, and playing with legends like Black Oak Arkansas, Albert King, and Chuck Berry. Apple - https://bit.ly/3rqqZLP Spotify - https://bit.ly/3EJOGBO YouTube - https://bit.ly/3UgqsY2   TIP BUCKET If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.

On this episode of Metal on Metal, we sat down with Brittany Fugate and Jeff Morgan of Rwake. In this interview, we discuss their latest record The Return of Magik. We also discuss Black Oak Arkansas, maintaining consistency, samples, and embracing change. The new music spotlight features "Hive Mind" by Lobotomite. This episode is brought to you by Pull the Plug Patches and Third Moon Brewery. Use code "metalonmetal" to get free beer shipping to most places in Ontario from Third Moon Brewery at thirdmoonbrewing.com. Links mentioned in this episode: *https://rwake.bandcamp.com/album/the-return-of-magik https://www.youtube.com/watch?v=z2_UhRDLZRI https://lobotomitemtl.bandcamp.com/album/new-transgressions-2

Memphis bassist Rocko Wallz stopped by the studio to talk about how he joined Memphis mainstays Fevertree, playing with Lance McDaniel and Black Oak Arkansas, and he also showed off some spicy new Fevertree merch! YouTube - https://bit.ly/3UgqsY2 Spotify - https://bit.ly/3EJOGBO YouTube - https://bit.ly/3UgqsY2   HOW TO SUPPORT THE PODCAST If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.

In this episode, Derrick and Jeff kick things off by recapping the recent Landslide show at Neil's and giving thanks to all the band sponsors, guests, and, of course, YOU, the audience! Stick around for another blooper reel before diving into part two of our interview with Greg Reding. Greg shares his journey through the music industry with Black Oak Arkansas, overcoming personal struggles, working at School of Rock and his current work with FreeWorld.   HOW TO SUPPORT THE PODCAST If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.  

In this episode, Derrick and Jeff share exciting details about The Rhythm Section's new collaboration with Radio Memphis. Plus, our feature interview with Greg Reding, guitarist for Landslide: A Memphis Tribute to Fleetwood Mac, dives into his 30+ years with The Memphis All-Stars, his journey in music, and playing with legends like Black Oak Arkansas, Albert King, and Chuck Berry.   SEND US YOUR QUESTIONS at TheRhythmSectionPod2022@gmail.com HOW TO DONATE TO THE PODCAST If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.  

Join us for our NEW Sunday Replay Series! Each Sunday, we bring back your favorite interviews in the order in which they were originally published, allowing you to relive the best moments and stories from past episodes.   Memphis guitarist David Flexer of legendary rock bands Black Oak Arkansas and Thrust stops by the studio to talk with us about getting his start with music, how he joined all of the many bands he's been a part of, and of course–tour stories!   HOW TO SUPPORT THE PODCAST If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.  

This week InObscuria once again lets our hair down and fills it full of Aquanet! Oh yeah, we are diving hair-first into the world of obscure glam metal. Whether you call it: glam metal, hair metal, cock rock, hard rock… It's all good and is the soundtrack for every party! In this episode, we celebrate the Summer of Hair. An end-of-summer celebration with a summer love story inspired by the Sunset Strip circa 1989!What are we all about here at InObscuria? Every week your two hosts crawl down to the crypts to exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. If you dig it… go dig it up and buy it! Support these artists and keep your devil horns high in the air! Let's party like it's 1989!Songs this week include:Lord Tracy - “Out With The Boys” from Deaf Gods Of Babylon (1989)The Midnight Devils - “So Hard It Hurts” from So Hard It Hurts (2024)Outlaw Blood - “Tower Of Love” from Outlaw Blood (1991)Valentine - “Too Much Is Never Enough” from Valentine (1990)Child's Play - “Damned If I Do” from Rat Race (1990)Steelheart - “She's Gone” from Steelheart (1990)Marvelous 3 - “Psalm Of The Summer” from Psalm Of The Summer – single (2024)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/inobscuria/og-shopIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Remembering Bill Walton: Basketball Star and Grateful Dead SuperfanIn this episode of the Deadhead Cannabis Show, Larry Mishkin covers various topics, including a historic Grateful Dead show, personal concert experiences, and music news. Larry starts with a deep dive into the Grateful Dead's June 3, 1976, concert at the Paramount Theater in Portland, Oregon. This show marked the band's return after a year-long hiatus, featuring five new songs and a revived tune from a four-year break. He highlights the opening track, written by Jerry Garcia and Robert Hunter, which nostalgically reflects on the band's Festival Express tour, a legendary 1970 train journey across Canada with prominent rock bands.Larry then discusses the song "Lazy Lightning," introduced at the same 1976 concert. Written by Bobby and John Perry Barlow, it became a fan favorite for its melody and message of living in the moment, though it was retired from the Grateful Dead's repertoire by 1984. He transitions into music news by honoring Doug Ingle of Iron Butterfly, who recently passed away. Larry reminisces about the band's iconic 1968 track "In-A-Gadda-Da-Vida" and its influence on the late 60s music scene.The podcast also pays tribute to Bill Walton, the legendary basketball player and devoted Deadhead who passed away at 71. Larry shares stories of Walton's deep connection with the Grateful Dead, including his record of attending 869 concerts, significantly more than his total basketball games played. Larry recounts Walton's influence on fellow athletes and his unique presence at Dead shows.Finally, Larry describes his recent experience at a Dead & Company concert at the Sphere in Las Vegas. He marvels at the venue's immersive visual technology, which enhanced the concert experience, likening it to a planetarium. Despite the advanced visuals sometimes overshadowing the music, Larry enjoyed the performance and the unique atmosphere. He also mentions a mini-exhibition featuring Dave Lemieux's tape collection and the significance of tape trading in Grateful Dead fandom.In summary, this episode covers a blend of Grateful Dead history, personal concert experiences, tributes to influential music figures, and the latest in concert technology, providing a rich narrative for Deadheads and music enthusiasts alike.  Grateful DeadJune 3, 1976  (48 Years Ago)Paramount TheaterPortland, ORGrateful Dead Live at Paramount Theatre on 1976-06-03 : Free Borrow & Streaming : Internet Archive First show back after 1975 year offPrior show:  Sept. 28, 1975 – last of the four shows in 1975, this show is 9 months later.  Long wait for Deadheads. Dead did not disappoint with five new songs and a breakout after a 4 year hiatus.  INTRO:                                 Might As Well                                                Track #1                                                1:15 – 2:50 “Take that ride again”                 Might as Well” is a song written by Jerry Garcia with lyrics penned by Robert Hunter. Released on Garcia's 3d solo album, Reflections, in February, 1976.  It's one of the tracks from Garcia's solo career, showcasing his musical versatility and unique ability to transform personal experiences into joyful music.  The song takes a nostalgic look back at the Grateful Dead's time on the Festival Express Tour, a memorable rail trip that brought together prominent artists of the '60s for a raucous, whisky-fueled journey across America.                 Festival Express is the 1970 train tour of the same name across Canada taken by some of North America's most popular rock bands, including Grateful Dead, Janis Joplin, The Band, Buddy Guy, Flying Burrito Bros, Ian & Sylvia's Great Speckled Bird, Mountain and Delaney & Bonnie & Friends.  Later made into a movie             Festival Express was staged in three Canadian cities: Toronto, Winnipeg, and Calgary (Montreal and Vancouver were also originally scheduled but both dropped)  during the summer of 1970. Rather than flying into each city, the musicians traveled by chartered Canadian National Railwaystrain, in a total of 14 cars (two engines, one diner, five sleepers, two lounge cars, two flat cars, one baggage car, and one staff car).[5] The train journey between cities ultimately became a combination of non-stop jam sessions and partying fueled by alcohol. One highlight of the documentary is a drunken jam session featuring The Band's Rick Danko, the Grateful Dead's Jerry Garcia and Bob Weir, New Riders of the Purple Sage's John Dawson, as well as Janis Joplin.             Here, it is played as the show opener.  Ultimately, became more of a first set closer, a popular one along with Deal, another Garcia solo tune.                     Played 111 times                First:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW  19 times that year              Last:  March 23, 1994 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USA – only time played that year, 6 times in ‘91                 SHOW No. 1:                    Lazy Lightning                                                Track #6                                                0:00 – 1:46 Written by Bobby and John Perry Barlow, paired with Supplication in concert and released with Supplication as the opening tracks on the album, Kingfish, released in March, 1976. Lazy Lightning is often interpreted as a metaphorical representation of the pursuit of a carefree and leisurely lifestyle amidst the chaos and hardships of reality. The lyrics depict a whimsical scenario where the protagonist encounters a bolt of lightning that transforms into a woman, symbolizing the allure and transitory nature of fleeting pleasures. The song encourages listeners to embrace the present moment and let go of the rigid expectations and responsibilities that burden their lives. It is a celebration of spontaneity, freedom, and the pursuit of personal bliss. Lazy Lightning became a fan favorite due to its infectious melody, poetic lyrics, and the sense of liberation it evoked. Grateful Dead fans often resonated with the song's message of embracing the present moment and shedding societal expectations. It became a rallying cry for those seeking to live life on their own terms, igniting a sense of camaraderie and freedom among concert-goers. Usually, a late first set number.  Unfortunately, dropped from the repertoire in 1984.  I got to hear it three or four times.  A fun number. Played:  also played 111 timesFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW!!Last:  October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA  MUSIC NEWS – Intro music:  In A Gadda Da Vida:  IRON BUTTERFLY - IN A GADDA DA VIDA - 1968 (ORIGINAL FULL VERSION) CD SOUND & 3D VIDEO (youtube.com)Start - :45 is a song recorded by Iron Butterfly, written by band member Doug Ingle and released on their 1968 album of the same name.At slightly over 17 minutes, it occupies the entire second side of the album. The lyrics, a love song from the biblical Adam to his mate Eve, are simple and are heard only at the beginning and the end. The middle of the song features a two-and-a-half-minute Ron Bushy drum solo.  Famously featured on a Simpson's episode when Bart switches the organist's regular music for this tune and hands out the words to the congregation who sing along.  The older organ player plays the entire organ solo (although they only feature a part of it) and then at the end promptly slumps over at the keyboard. Featured today as a tribute to Doug Ingle, songwriter, keyboard player and vocalist for the song, who passed away on May 24th at the age of 78.  He was the last surviving member of the original band lineup.Bill Walton passed away on last Monday, May 27th at the all too young age of 71.  Couldn't miss him at the shows, 7 foot redhead dancing away or else up on stage.Dead & Co. at the Sphere, saw the June 1st show.                SHOW No. 2:                    Supplication                                                Track #7                                                2:00 – 3:30 Written by Bobby and John Perry Barlow, paired with Lazy Lightning in concert and released with Lazy Lightning as the opening tracks on the album, Kingfish, released in March, 1976. The song delves into the universal theme of the human experience, specifically emphasizing the concept of surrender and humility. It explores the idea of surrendering oneself to a higher power, relinquishing control, and embracing the unknown. The lyrics touch upon the vulnerability and humility required to let go and trust in something beyond our comprehension. Supplication encourages listeners to reflect upon their own lives, urging them to question their beliefs, values, and the significance of surrendering to a greater force. Played:  111 times (a good number for the lottery, keeps coming up), always paired with Lazy LightningFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW!!Last:  October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA SHOW No. 3:                    Dancin In the Streets                                                Track #11                                                0:00 – 1:42 "Dancing in the Street" is a song written by Marvin Gaye, William Stevenson, and Ivy Jo Hunter. It first became popular in 1964 when recorded by Martha and the Vandellas whose version was released on July 31, 1964 and reached No. 2 on the Billboard Hot 100 chart for two weeks, behind "Do Wah Diddy Diddy" by Manfred Mann and it also peaked at No. 4 on the UK Singles Chart. It is one of Motown's signature songs and is the group's premier signature song.A 1966 cover by the Mamas & the Papas was a minor hit on the Hot 100 reaching No. 73. In 1982, the rock group Van Halen took their cover of "Dancing in the Street" to No. 38 on the Hot 100 chart and No. 15 in Canada on the RPM chart. A 1985 duet cover by David Bowie and Mick Jagger charted at No. 1 in the UK and reached No. 7 in the US. The song has been covered by many other artists, including The Kinks, Tages, Black Oak Arkansas, Grateful Dead, Little Richard, Myra and Karen Carpenter. I saw it as the first night show opener on June 14, 1985 at the Greek Theater as part of the band's 20 Anniversary celebration.  A really fun concert tune.  The 1970's versions always had strong Donna support backing up Bobby's lead vocals. This show was the first time the band had played the song since Dec. 31, 1971 (203 shows) Played: 131 timesFirst:  July 3, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  April 6, 1987 at Brendan Byrne Arena, East Rutherford, NJ, USA MJ NEWS Blake Schneider passed away May 27th at 69.  Legendary cultivator who created the best strain of marijuana I ever smoked.  We just called it Blake weed and put it up against any other strain, anywhere, any time.  Folks would say they had the best weed until I let them smoke some of the Blake weed.  They never failed to concede.  Eccentric, temperamental, hospitable, mentor and good friend.  And self titled “best joint roller in the worlds.”  Was one of my Bulls season ticket partners during the Jordan era.  Every home game began with a pregame at Blake's loop residences including great wines, gourmet appetizers and snacks, top shelf liquor (on the way out the door we always did our “Go Bulls” shots) and more marijuana than anyone should ever smoke.  With four of us in the room, he would have 3 joints circulating at all times.  With his ever present life partner, Jeanne, an evening at Blakes was as much fun as the actual game itself.  Ran into a problem with the Green County Sheriff, but gave them the finger when the feds took the case over and Blake only had to serve 11 months at a fed minimum risk prison instead of the 20 years that Green County said was a done deal given the number of plants he was growing at his farm house in Argyle, WI.  They were not happy campers when the feds moved in to take over the case due to the value of the property they could sieve and force Blake to buy back from them.  Blake was a true party legend and will be sorely missed by those of us that knew him, loved him and tolerated him. 2.        Marijuana Terpenes Are ‘As Effective As Morphine' For Pain Relief And Have Fewer Side Effects, New Study Finds 3.        CBD Is Effective In Treating Anxiety, Depression And Poor Sleep, Study Finds4.        Marijuana And Hemp Businesses At Odds Over Consumable Cannabinoid Ban In House Farm Bill  SHOW No. 4:                    Samson and Delilah                                                Track #12                                                0:00 – 1:45 "Samson and Delilah" is a traditional song based on the Biblical tale of Samson and his betrayal by Delilah. Its best known performer is perhaps the Grateful Dead, who first performed the song live in 1976, with Bobby singing lead vocals and in the ‘70's with Donna joining in. It was frequently played on Sundays due to the biblical reference. Released by the band in 1977 on their album Terrapin Station. Although Weir learned the song from Reverend Gary Davis, several earlier versions had been recorded under various titles, including "If I Had My Way I'd Tear the Building Down"/"Oh Lord If I Had My Way" by Blind Willie Johnson in 1927.[1] The song has since been performed by a wide variety of artists ranging from Dave van Ronk, Bob Dylan, Charlie Parr, The Staple Singers, Ike and Tina Turner, Clara Ward, Dorothy Love Coates & The Gospel Harmonettes, to Peter, Paul and Mary, The Washington Squares, The Blasters, Willie Watson, Elizabeth Cook, Robert Randolph and the Family Band, and Bruce Springsteen and the Seeger Sessions Band (in Verona, Italy 2006). Guest star Simon Oakland sings the song with the drovers around a campfire in the Rawhide episode "Incident of the Travellin' Man", aired in season six on October 17, 1963. A long time favorite tune with a distinctive drummers intro that tipped off the song and got the crowd fired up. Settled into a set opener, more frequently a second set opener and often played on Sundays due to its biblical reference with Bobby's “This being Sunday . .”  Played:  365 timesFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOWLast:  July 9, 1995 at Soldier Field OUTRO:                               The Wheel                                                Track #22                                                2:48 – 4:30                 One of their most beloved songs, “The Wheel,” holds a special place in the hearts of fans worldwide. Written by Jerry Garcia, Robert Hunter, and Bill Kreutzmann, this folk-rock anthem has captivated listeners with its enigmatic lyrics and catchy melody. The song's meaning has been widely debated among enthusiasts, and its cryptic nature has allowed for multiple interpretations.            “The Wheel” reflects the transient nature of life, offering a philosophical perspective on the cycles we all experience. The lyrics suggest that life is like a wheel, constantly turning and repeating itself. The song evokes a sense of impermanence and reminds us of the cyclical patterns we encounter throughout our existence. This theme resonates strongly with the band's philosophy and their connection to the spiritual and psychedelic culture of the late 1960s and early 1970s.                “The Wheel” was released on the Grateful Dead's album “Garcia” in 1972.             “The Wheel” is characterized by its infectious melody and intricate guitar work. The song showcases the Grateful Dead's ability to seamlessly blend folk, rock, and improvisational elements into a cohesive piece of music.            Normally, a second set tune, into or out of drums/space although it moved around a bit in the second set.  Here it is the encore which is more of a rarity.            Played 259 times           First: June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW            Last:  May 25, 1995 at Memorial Stadium, Seattle, WA                                         .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Midnight Madness Radio Episode 265 with the 50th anniversary of the California Jam 1 with Rare Earth, Earth, Wind & Fire, Eagles, Seals and Crofts, Black Oak Arkansas, Black Sabbath, Deep Purple, and Emerson, Lake & Palmer.

Dnes otevřeme anketu, kterou před časem zveřejnil web Ultimate Classic Rock. Všech 25 ukázek nejvýše hodnocených alb dnes sice nestihneme, ale někdy v blízké budoucnosti to dáme. V tomto dílu Hurá na Jih se můžete těšit na 25. až 17. místo a kapely Gov´t Mule, Black Oak Arkansas či Gregga Allmana.

Rock 'N Roll Hall of Famer Ricky Byrd Live on Game Changers with Vicki Abelson Hanging out with Rock'N Roll Hall of Famer, Ricky Byrd, is like going home. Back to the days… when we were both in a daze. I was booking the Rock 'N Roll Café on Bleecker Street, Ricky was already a rockstar, center stage as lead guitarist with Joan Jett and the Blackhearts, playing those iconic riffs in the fab MTV Music Video Days... when there were ashtrays on restaurant tables, and MTV played music videos. Just found a great pic of Ricky and Elliot Easton sitting in on our tiny stage in '87ish. All those years ago, and yet how fun to have seen Elliot play live last week with The Immediate Family and Zoom tonight with Ricky. One big difference, both Ricky and I are sober. 36 years for him, and the last many, being of service and giving back with his time, and his music. His current passion, partnering with AllSober.com to aid those struggling with addiction to gain inspiration from their sober heroes. He treated us to his Ain't Gonna Live Like That No More to punctuate the point. Ricky received the Drug-Free Heroes Award, presented by the Foundation For a Drug-Free World, The Faces and Voices 2019 Voice of Recovery Award, and the 2019 Italian American of Distinction Award, presented by Governor Cuomo, for his work in recovery. This Rockboy walks his talk. Old friends, it was an easy breezy walk down memory lane, littered with one-liners, and rim shots. Ricky may be a rocker but he's a Borscht Belt comic at heart. Fabulous stories about touring with Graham Parker, Roger Daltry, and Ian Hunter, the thrill of playing THAT riff from All the Young Dudes, having Simon Kirke of Bad Company behind him hitting those beats, backing Brian Wilson, sitting next to MeatLoaf watching his hero Jeff Beck, both of them weeping. We talked quite a bit about Beck, and Townshend, Eddie Van Halen, John Mayer, Albert King, the old days of the Filmore East, The Academy of Music, the Humble Pie, J Geils Band, and Black Oak Arkansas show we both were at when we were babies. Speaking of the Babys, we talked John Waite, Ricky's old, my new friend, and his hysterical speech whilst being inducted into the Rock 'N Roll Hall of Fame with Joan Jett and The Blackhearts. Why she didn't much react behind him, and looking past the front row where Paul and Ringo, his raison d'etre for becoming a musician sat with Funk 49s, Joe Walsh. And then, sharing the stage with them - and his great interactions with both Paul and Ringo. Ricky's fan love for his heroes is so relatable and fun to witness. Ricky's Rhapsody in Blues - An Instrumental Tribute to Jeff Beck is spectacular as are his other WIcked Cool released singles, Louanne, Alien, and Glamdenic Blues, and they're available here: https://www.rickybyrd.com We got the story behind each and why he requests we download rather than stream. I did as soon as we got off the interweb. I adore my old friend. I so enjoyed every second and every word of this conversation. It was such a treat to spend time again in his great company. Ricky Byrd Live on Game Changers with Vicki Abelson Wednesday, February 21, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/3uwdsUQ

Programa 366 del 03 de enero, trasmitiendo en España en Sol y Rabia, Revi Radio, TNT Radio Rock, El Lokal del Rock y Asalto Mata Radio Rock, en Argentina en Lado Salvaje Radio y en Puerto Rico en Heavy Metal Mansion. Con bandas clásicas como Autopsy, Cirith Ungol, Black Oak Arkansas, Chicago, Dokken, y otras menos reconocidas pero igualmente interesantes como Eric Sardinas, Lucassen's Supersonis Revolution y Ozric Tentacles. De España tenemos a Electric Flames, Evanora y Effe. Canciones que escucharemos hoy. 1.Autopsy - Rabid Funeral, 2.Cirith Ungol - Velocity (S.E.P.), 3.Black Oak Arkansas - Space Lord, 4.Chicago - I'm a Man, 5.Electric Flames - Lucky Break, 6.Evanora - En el Tiempo, 7.Dokken - Saving Grace, 8.Dokken - Into the Fire, 9.Dokken - Unchain the Night, 10.Dokken - Lightning Strikes Again, 11.Dokken - Mr. Scary, 12.Dokken - Dream Warriors, 13.Effe - Sin Nada, 14.Effe - La copla del Rock and Roll, 15.Eric Sardinas - Laundromat , 16.Lucassen - Heard it on the X, 17.Ozric Tentacles - Deep Blue Shade

It was 1989 Anno Doimini and the merger of some of Black Oak Arkansas and Pantera was joining and perhaps ganing steam. Terry Glaze, the voice of Pantera on their first three independent albums meets with Chris Craig and Barney Wolfe, both formerly of Black Oak Arkansas, and they along with guitarist, Jimmy Rusidoff, they create a brand new hair metal band that's equal parts Rolling Stones, Exodus, Beastie Boys, and Poison. Is this a bridge too far with too many different things going on all at once? Join Nik and Duncan as they figure it out. https://www.facebook.com/dmapodcast/

It's the annual Halloween slash Pledge Drive show. Halloweenie sounding tracks from Black Oak Arkansas, James Blunt, Ruen Brothers, Dan Fogelberg and more.

Memphis bassist Rocko Wallz stopped by the studio to talk about how he joined Memphis mainstays Fevertree, playing with Lance McDaniel and Black Oak Arkansas, and he also showed off some spicy new Fevertree merch!   We also bring in Jill Byrum to talk about the anniversary of the great Randy Byrum's passing and recapping the Nita Makris tribute and Stage Stop Reunion show at Neil's Music Room. We feature all the bands, Hand Me Downs, Thrust, Play Rough, Every Mother's Nightmare, Roxy Blue, and Lord Tracy.  

Purists love to tell us that many songs with “blues” in their title — “Blues in the Night,” “Birth of the Blues,” “Lovesick Blues” — technically are not blues at all. (Shoot, even the great “St. Louis Blues,” while it certainly opens with a traditional 12-bar blues structure, wraps up with 16 bars in a habanera rhythm that its composer W.C. Handy called his “tango section.”)Of course, many of these cited songs aren't meant to be blues, but to be about having the blues, and 1950s classic rocker “Singing the Blues” certainly meets those specs.A perfect honky tonk tune of its time, “Singing the Blues” was written by 20-year-old Arkansas native Melvin Endsley in 1954. The following year, Endsley took his song to Nashville to pitch it backstage at the Grand Ole Opry. And it worked. In 1956, Marty Robbins recorded the song (which is credited, by the way, with putting Robbins on the musical map). It was pretty good for Endsley's career too. His writing talents were in high demand after Robbins's success. Over his 50-year career, Melvin wrote some 400 songs that were recorded by hundreds of artists.Living the BluesMelvin Endsley himself had more than a passing acquaintance with the blues. In 1937, when he was three years old, he contracted polio, requiring him to use a wheelchair for the rest of his life.Then, starting at the age of 11, he spent three years in the Crippled Children's Hospital in Memphis. However, the resourceful youngster parlayed that into a life-altering experience. While in the hospital, Melvin regularly listened to music on the radio, and he taught himself to play the guitar.After returning to Arkansas, the teenaged Endsley began performing on local radio shows. By the time he was 20, he had an original song — "It Happens Every Time" — that caught the attention of a couple of established artists, Don Gibson and Dorsey Burnette, who encouraged him to continue his songwriting. Within months, Melvin had created the song that would change his life. While “Singing the Blues” was first recorded by Marty Robbins, its best-known recording was released in October 1956 by Guy Mitchell, whose rendering of it spent 10 weeks at No. 1 on the U.S. Billboard chart from December 1956 to February 1957.Two other charting versions of the song — Robbins' original along with one by English singer Tommy Steel — also were released almost simultaneously with Mitchell's.Since then, “Singing the Blues” often has been revived. In the 1960s, for instance, Bill Haley & His Comets, Hank Snow and Dean Martin all made recordings of it. In the 1970s came versions by Black Oak Arkansas and by Marie Osmond. In the 1980s, it was Gene Summers and Randy Travis, while the ‘90s saw takes by The Kentucky Headhunters and by Paul McCartney.The English Football ConnectionWeirdly, the tune also has resonated with English football fans. It has been sung since the ‘60s by fans of various clubs, usually offering parodies of the opening lyrics. For example, Everton fans sing, "I've never felt more like singing the blues, when Everton win and Liverpool lose. Oh Ev-er-ton, you've got me singing the blues." Our Take on the TunePamela Bowen, who has been our band manager for more than 20 years, is a major influence on all things Flood, from the venues we visit to the tunes we play when we get there. So when Pamela recently suggested we augment the roots music portion of our repertoire with some more classic old-time rock, we started casting our thoughts back to the tunes that stirred our youth, like this from the Fifties.Our first public performance of the song was last week at Sal's Speakeasy, where, as we reported here earlier, it even made Pamela's video from the night. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

"Un paese ci vuole, non fosse che per il gusto di andarsene via" scriveva Cesare Pavese, e oggi vi portiamo a scoprire cosa vuol dire per i Black Oak Arkansas tornare alla propria terra, tra le colline verdi, dove l'acqua scorre libera. Un idillio bucolico che nasce nel centro degli Stati Uniti, nell'Arkansas che non a caso è conosciuto come "The Natural State". Ascolta la playlist dedicata alla puntata: ⁠- Back To The Land Playlist

Memphis guitarist David Flexer of legendary rock bands Black Oak Arkansas and Thrust stops by the studio to talk with us about getting his start with music, how he joined all of the many bands he's been a part of, and of course–tour stories!   David's personal Facebook: https://www.facebook.com/dflexer   You can watch our full episodes on YouTube and listen on Apple and Spotify. You can do this through our LinkTree - https://linktr.ee/therhythmsectionpod   ***SUPPORT*** through Patreon https://www.patreon.com/therhythmsectionpodcast If you want to support, you can throw a dollar in the tip bucket. Click the link below and sign up for our Tip Jar tier. It's $1/month. It's a tip for this content, just like tipping a cover band at your local pub. The support would be greatly appreciated. Thank you! The show is recorded at SRP Studios in great Hernando, MS., AND produced by Shelby Row Productions, a podcast production agency.    SRP develops professional podcasts, which include audio and video production, graphic design, copywriting, and social media management.    SRP provides a complete launch and development plan and will syndicate your podcast across all major platforms, such as Apple Podcasts and Spotify.    To learn more, schedule a free consultation today at shelbyrowproductions.com   Parental discretion for this podcast is advised.

the imminent passing of Jimmy Carter has naturally called to mind his beloved Allman Brothers and with that you are welcome to episode 143 of the Radio Hour That Feels Like Two Hour's first ever SOUTHERN ROCK SPECIAL.    Lynyrd Skynyrd!  The Outlaws!  .38 Special! Molly Hatchet!  The Charlie Daniels Band! Black Oak Arkansas!  AntiSeen! the Amazing Rhythm Aces! Raging Slab! The Marshall Tucker Band! Barefoot Jerry! Driving' & Cryin'! Blackberry Smoke! The Impotent Sea Snakes! Yes, that certainly is a lot of names. And with all due respect to President Carter, I won't be playing any of them (though AntiSeen might get a look in one of the weeks, who knows) but there is JD & The Straight Shot's version of “Whipping Post” at the very end of the program (the track is not listed due to rights clearance issues). That's the best I can do, sorry — I'll try to get my shit together for the next SOUTHERN ROCK SPECIAL

Marc Andersen of Letchen Grey discusses what prompted the band's reformation; the origin of the band's name (hint:a Jethro Tull song); life between the mid-80s and the present; stories of the Sunset Strips scene, including tidbits about bands and Gazzarri's; working with producer Alan Niven (Guns N' Roses, Great White) and the "Stravinski Brothers";  and the band's new singer, who happens to be related to Black Oak Arkansas band's Jim Dandy. At the end of the interview, you can hear Letchen Grey's single "Burn". Lots of fun for all 80s enthusiasts! [...]

Marc Andersen of Letchen Grey discusses what prompted the band's reformation; the origin of the band's name (hint:a Jethro Tull song); life between the mid-80s and the present; stories of the Sunset Strips scene, including tidbits about bands and Gazzarri's; working with producer Alan Niven (Guns N' Roses, Great White) and the "Stravinski Brothers";  and the band's new singer, who happens to be related to Black Oak Arkansas band's Jim Dandy. At the end of the interview, you can hear Letchen Grey's single "Burn". Lots of fun for all 80s enthusiasts! [...]

The Dream Regime is back after an unexpected 6 month hiatus with this last recording we did in June of 2022. This time around we tripped fantastic on the familiar topic of unrequited love, sharing stories of our own heart breaks and listening to some appropriate tunes from Tom. With Dead and Lovely, Black Wings, Black Rider and a surprise segment from the documentary on avante garde theater director, Robert Wilson. Feel the love, Folks!

This week we celebrate our 20th installment of an ongoing series called “Grave Mistakes: They Shoulda Been Huge!!!”. We bring you an in-depth exploration of an awesome boogie metal / southern rock n' punk band from the grimy & gritty NYC Lower East Side of the 1980s: RAGING SLAB! This band featured equal parts Skynyrd and Metallica complete with a kick-ass bottleneck slide lead guitar. Touring with a cross-section of bands like Chili Peppers, Ramones, Molly Hatchet, GnR, and Warrant while boasting a southern rock stomp pre-dating The Black Crowes; we think this band Shoulda Been Huge!!! This episode is rooted in our Should Have Been category. This is a band that we featured on the show earlier this year during our exploration of Genres From The Netherworld (Ep. 137). Robert enjoyed them so much, he asked that they be revisited at some point. Unfortunately, their amazing brand of boogie metal was never recognized to the degree that it deserved; partly due to a series of unfortunate incidences and pure bad luck. Songs this week include:Raging Slab – “Mr. Lucky” from Assmaster (1987)Raging Slab – “Get Off My Jollies” from True Death (1988)Raging Slab – “Bent For Silver” from Raging Slab (1989)Raging Slab – “Lord Have Mercy” from Dynamite Monster Boogie Concert (1993)Raging Slab - “C'mon N' On” from Sing Monkey Sing (1996)Raging Slab – “Sir Lord Ford…” from The Dealer (2001)Raging Slab – “Ruby” from (Pronounced Eat-Shit) (2002)Raging Slab – “Bury Me Deep” from (Pronounced Eat-Shit) (2002)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

If you missed yesterday's show, (11-17-22), Molly Hatchet's Bobby Ingram was our guest ahead of Saturday night's sure-to-be-amazing show at the St. Charles Family Arena with .38 Special and Black Oak Arkansas! Bobby talks about his career, his favorite/most memorable experiences with the band and where they're headed next!

Canciones de Dickey Betts, The Rockets, Black Oak Arkansas, Pat Travers, Lynyrd Skynyrd, Rod Stewart, Riccardo Cocciante y Supertramp....

Canciones de Dickey Betts, The Rockets, Black Oak Arkansas, Pat Travers, Lynyrd Skynyrd, Rod Stewart, Riccardo Cocciante y Supertramp....

Let's be honest, I am no expert in the Country Music genre. However, following this fascinating glimpse into the life and career of Ben Brookes Belcher, it's safe to say that that I now know a hell of a lot more than I did! Ben was raised in a gritty strip coal mine community in Cabin Creek, West Virginia, USA. He grew up listening to stalwart Bluegrass and Country legends like Flatt & Scruggs, Merle Haggard and Chet Atkins. We listen as he takes us on a musical voyage, from playing alongside his Father to touring with musical artists such as, Marshall Tucker, Molly Hatchet, Atlanta Rhythm Section, Black Oak Arkansas, Little Texas, Charlie Daniels, Kentucky Head-hunters, Billy Ray Cyrus, Neal McCoy, Pirates of the Mississippi, John Michael Montgomery, Blackhawk and Joe Diffie, to name but a few. Ben shares his observations on the current musical climate for his genre, some insightful anecdotes and a few heartfelt personal stories from his lifetime in the music industry. Along the way, we hear some of the tracks that perfectly illustrate the feelings, emotion and inspiration of this incredible journey, We hear about his experiences working on recordings with legendary Producer & Engineer Bill Halverson, and how he's now producing and recording in his own studio, under his own independent label, ‘Timberwolf Records & Production' in Atlanta, Georgia, USA. We learn about some exciting new work Ben has recorded recently, what he's listening to at the moment for inspiration and what we can expect from ‘The Shack' studio in the future. Find out about more exciting music podcasts here

Canciones de The Tymes, The Kinks, The Cure, The Rolling Stones, Bob Seger, Black Oak Arkansas, America, Deep Purple, James Taylor y Nazareth. ...

Canciones de The Tymes, The Kinks, The Cure, The Rolling Stones, Bob Seger, Black Oak Arkansas, America, Deep Purple, James Taylor y Nazareth. ...

Midwesterners who move to Los Angeles consider themselves geniuses because their friends back in Wisconsin are still freezing. ALSO: Alcohol makes you crazy - the band Black Oak Arkansas is proof. We need to start asking politicians what they did last night. PLUS: Mike Lindell's disgusting coffee, and song of the week "Hot and Nasty."Black Oak Arkansas - Hot and Nasty: https://www.youtube.com/watch?v=SBElipPiMuM

Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. On a number of occasions Zappa appeared in radio show slots, airing and generally discussing his favored music, or occasionally guesting on a 'club turntable', describing himself as a 'Fraudulent DJ'. In this episode, part one of a series of two, all the tracks in chronological order as selected by Zappa (with exception of most of his own tracks) for all his DJ appearances that have been documented, and that took place between 1968 and 1984. Lineup: Frank Zappa, The Mothers Of Invention, Ewan MacColl, The Hollywood Persuaders, Pierre Boulez, Hilary Summers, Ensemble Intercontemporain, The Dreamlovers, The Penguins, Charles Mingus, Frankie Lee Sims, Vernon Green & The Medallions, Richard Berry & The Dreamers, The Paragons, Big Moose, The Turbans, Johnny Guitar Watson, The Spaniels, J.B. Lenoir, Vernon Green, The Medallions, Bill Haley & His Comets, The Chips, The Velvets, Richard Berry & The Pharaohs, Johnny 'Guitar' Watson, The Feathers, Don & Dewey, The Jewels, The Cufflinks, Johnny Ace, Wilbur Whitfield & The Pleasers, Hank Ballard & The Midnighters, Jackie & The Starlites, The Cellos, The Rolling Crew, Screamin' Jay Hawkins, Paul Robeson, Huey 'Piano' Smith, Clarence 'Gatemouth' Brown, The Six Teens, The Laurie Sisters, Lloyd Terrell, Ruben And The Jets, The Hawks, The Olympics, Andre Williams, The Gaylarks, Little Sunny Day and the Clouds, The Clovers, The Harptones, Baby Ray And The Ferns, Muddy Waters, The Shaggs, Richard Berry, The Robins, Bob Landers, Willie Joe, Tony Allen, Peppermint Harris, The El Dorados, The 5 Campbells, Elmore James, The Moonlighters, Don Julian, The Larks, Lloyd Price, The Solitaires, Black Oak Arkansas, Edgard Varèse, Frederic Waldman, NY Wind Ensemble, Olivier Messiaen, BBC Symphony OrchestraAntal Dorati, Antal Doráti, BBC Symphony Orchestra, Anton Webern, Nürnberg Symphony Orchestra, Othmar Maga

Tommy Aldridge got his musical taste from his mother at a very young age. His mom was into all different artists including Dave Brubeck, Elvis Presley, & The Everly Brothers. He first came in contact with drums when he was six years old. His first real band was a trio that consisted of drums, guitar, & keyboard. Tommy has drummed for some of the biggest names in rock music, including Whitesnake, Gary Moore, Black Oak Arkansas, Pat Travers, & Ozzy Osbourne. He continues to tour with Whitesnake to this day. “We've managed to still be out here and still be viable to this day. I'm really thankful and blessed to still be a part of that.”

Season 2, Episode 2, AJ talks to Drummer Extraordinaire Bobby “T” Torello. From the great state of Connecticut comes this member of the Classic Drummer Hall of Fame, WFL III Ludwig drums spokesman and member of the New England Music Hall of Fame. His many years of touring includes sessions with Johnny Winter, Grace Slick, Black Oak Arkansas, Jay Willie Blues Band, The Namedroppers and even Michael Bolton. Bobby has been on the road since he was 16 years old and does not seem to be slowing down any time soon. Listen in as two friends talk of their 40 + year friendship.

Percussion Discussion - Episode 65 - Tommy Aldridge.Firmly back in the legends lounge once again as i am joined by legendary Hard Rock / Heavy Metal drummer - Tommy Aldridge.Join Tommy and myself as we chat about his incredible career spanning 5 decades of playing drums at the very highest level, playing for the likes of Gary Moore, Ozzy Osbourne, Black Oak Arkansas, Pat Travers, Ranndy Rhoads, Tony MacAlpine and of course Whitesnake/David Coverdale. We crammed so much into this hour, including - how he got interested in drums, early influences, Practicing drums with his bare hands in his shed!! we talk about about what Tommy got upto over the lockdown periods, Recording, Equipment, Soundchecking, The solo with Bare hands and so much more!This was a real pleasure - Tommy, Thank you so much for giving up your time so generously.Please share these interviews with your friends and leave a review if you can! thanks 

In this episode of LIGHT TALK, The Lumen Brothers  (and Sistah!) discuss everything from The Tony Awards to Black Oak Arkansas.    Join Steve, Zak, and Ellen as they pontificate about: Let's celebrate The Rolling Stones; Should you use a projector or LED wall; Creamy images; Equity Covid guidelines for theaters; Differences in creating video content for a projector or LED pixels; Pani vs. LED;  Episode 2 of "Bobby Danger, Lighting Guy"; The Tony Awards; New ways to define how to award designers; Working with only one spotlight operator; and How to pick a lighting console.   Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. In Where Misfits Fit: Counterculture and Influence in the Ozarks (University Press of Mississippi, 2021), Dr. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. Drawing on a wide variety of sources, Kersen argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves―a place where community could be reimagined in a variety of ways. It is in these communities that communitas, or a deep social connection, emerges. Each of the nine chapters focuses on a facet of the Ozarks, and Kersen often compares two or more cases to generate new insights and questions. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li'l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas. Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. His most recent research, “The Queen and Her Royal Court: A Content Analysis of Doing Gender at a Tulip Queen Pageant,” was published in Gender Issues Journal. He researches culture, social identity, placemaking, and media representations of social life at festivals and celebrations. He is currently working on a book titled Tug Cities: Community Media Representations of Place and Identity at a Tug of War Festival. This book is about the media representations of place and identity at an annual interstate tug of war festival where cities in two states across the Mississippi River from each other come together one week during the summer as rivals to duke it out on the rope. You can learn more about Dr. Johnston on his website, Google Scholar, on Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. In Where Misfits Fit: Counterculture and Influence in the Ozarks (University Press of Mississippi, 2021), Dr. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. Drawing on a wide variety of sources, Kersen argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves―a place where community could be reimagined in a variety of ways. It is in these communities that communitas, or a deep social connection, emerges. Each of the nine chapters focuses on a facet of the Ozarks, and Kersen often compares two or more cases to generate new insights and questions. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li'l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas. Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. His most recent research, “The Queen and Her Royal Court: A Content Analysis of Doing Gender at a Tulip Queen Pageant,” was published in Gender Issues Journal. He researches culture, social identity, placemaking, and media representations of social life at festivals and celebrations. He is currently working on a book titled Tug Cities: Community Media Representations of Place and Identity at a Tug of War Festival. This book is about the media representations of place and identity at an annual interstate tug of war festival where cities in two states across the Mississippi River from each other come together one week during the summer as rivals to duke it out on the rope. You can learn more about Dr. Johnston on his website, Google Scholar, on Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. In Where Misfits Fit: Counterculture and Influence in the Ozarks (University Press of Mississippi, 2021), Dr. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. Drawing on a wide variety of sources, Kersen argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves―a place where community could be reimagined in a variety of ways. It is in these communities that communitas, or a deep social connection, emerges. Each of the nine chapters focuses on a facet of the Ozarks, and Kersen often compares two or more cases to generate new insights and questions. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li'l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas. Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. His most recent research, “The Queen and Her Royal Court: A Content Analysis of Doing Gender at a Tulip Queen Pageant,” was published in Gender Issues Journal. He researches culture, social identity, placemaking, and media representations of social life at festivals and celebrations. He is currently working on a book titled Tug Cities: Community Media Representations of Place and Identity at a Tug of War Festival. This book is about the media representations of place and identity at an annual interstate tug of war festival where cities in two states across the Mississippi River from each other come together one week during the summer as rivals to duke it out on the rope. You can learn more about Dr. Johnston on his website, Google Scholar, on Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. In Where Misfits Fit: Counterculture and Influence in the Ozarks (University Press of Mississippi, 2021), Dr. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. Drawing on a wide variety of sources, Kersen argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves―a place where community could be reimagined in a variety of ways. It is in these communities that communitas, or a deep social connection, emerges. Each of the nine chapters focuses on a facet of the Ozarks, and Kersen often compares two or more cases to generate new insights and questions. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li'l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas. Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. His most recent research, “The Queen and Her Royal Court: A Content Analysis of Doing Gender at a Tulip Queen Pageant,” was published in Gender Issues Journal. He researches culture, social identity, placemaking, and media representations of social life at festivals and celebrations. He is currently working on a book titled Tug Cities: Community Media Representations of Place and Identity at a Tug of War Festival. This book is about the media representations of place and identity at an annual interstate tug of war festival where cities in two states across the Mississippi River from each other come together one week during the summer as rivals to duke it out on the rope. You can learn more about Dr. Johnston on his website, Google Scholar, on Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. In Where Misfits Fit: Counterculture and Influence in the Ozarks (University Press of Mississippi, 2021), Dr. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. Drawing on a wide variety of sources, Kersen argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves―a place where community could be reimagined in a variety of ways. It is in these communities that communitas, or a deep social connection, emerges. Each of the nine chapters focuses on a facet of the Ozarks, and Kersen often compares two or more cases to generate new insights and questions. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li'l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas. Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. His most recent research, “The Queen and Her Royal Court: A Content Analysis of Doing Gender at a Tulip Queen Pageant,” was published in Gender Issues Journal. He researches culture, social identity, placemaking, and media representations of social life at festivals and celebrations. He is currently working on a book titled Tug Cities: Community Media Representations of Place and Identity at a Tug of War Festival. This book is about the media representations of place and identity at an annual interstate tug of war festival where cities in two states across the Mississippi River from each other come together one week during the summer as rivals to duke it out on the rope. You can learn more about Dr. Johnston on his website, Google Scholar, on Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Sleeping Dogzz is a classic rock staple band that has sonically entertained audiences for over 25 years.  They have opened for such notable bands as Black Oak Arkansas, Warrant, REO Speedwagon and Foghat.  This Saturday the play their final gig in Springfield, Illinois. In this episode Bill Szerletich (Vocals/Guitar) and Tom Summerlin (Drums), share the journey of the band, the family and community that have developed along the way, and their enduring love of the music. For more information about the Dogzz, please see:  https://www.facebook.com/search/top?q=sleeping%20dogzz Twitter:  https://twitter.com/The_Dogzz Email:  thenewdogzz@yahoo.com This podcast is available on your favorite podcast platform, or here:  https://endoftheroad.libsyn.com/episode-197-mini-sleeping-dogzz-the-end-of-the-roadthe-spirit-of-classic-rock Enjoy the journey....    

NOW AVAILABLE ON FOWL PLAYERS RADIO!!! www.fowlplayersradio.comWhen I was first introduced to Doug Macuch and was asking him if he was interested in being a guest on Fowl Players Radio- he told me he was afraid he wouldn't have much to say. One night, he and his wife Kris sat down to put together some thoughts of things they would like to talk about, and practically wrote a book! They both had such great stories to tell, from the bands they performed in prior to meeting each other, and the band "Diamond Alley" which they have been in together for quite a few years!The Macuches took a long walk down memory lane, telling me of the bands they had played in over the years with  and the acts they had opened for in various bands such as Fats Domino, Edgar Winter, Rick Derringer, Peter Frampton, Nazareth, John Hall of Orleans, Black Oak Arkansas, Zebra, Eddie Money, The 4 Tops, The Drifters, Nils Lofgren,  and jammed with Mick Fleetwood and Bette Midler's band. Kris was in the touring band for "Peaches and Herb" for a year.Also- great stories of misadventures! Doug's band "Ain't no good", Armand Zildjian falls asleep during an interview, and some "Rambo-Style" first aid to get through a gig!! Kris' keyboard gets destroyed by a member of Steppenwolf! Instead of trying to recap every story they told me- I'm just going to let you listen for yourself!http://diamondalley.com/Subscribe for free at www.fowlplayersradio.com or listen wherever you find podcasts online.No matter what platform you listen on, you can help us greatly by giving us a fair review and a 5 star rating!Also- be sure to visit our page on patreon.com- www.patreon.com/fowlplayersradio!Follow us on Facebook, Instagram, and Twitter!!The Fowl Players of Perryville are back and have many shows booked for the fall and winter of 2021-22! See our schedule on www.fowlplayersofperryville.com. For bookings, we can be reached by phone at 443-600-0446 or by email at fowlplayersperryville@yahoo.com.

Inner Journey welcomes Normal Bean and George Walker. Normal bean has shared the Stage with members of (Grateful Dead), Country joe & the Fish) Big brother holding, Quicksilver messenger, Jefferson starship, Three dog Night, CCR revisited Earth, Wind & Fire, Kid Rock, Collective soul, Head East, Black Oak Arkansas, Buddy Rich, Maynard Ferguson, and many others.George Walker's circle consisted of an extraordinary crew of cultural pioneers that included journalist Hunter S. Thompson, Hells Angel Terry the Tramp musician David Crosby, counter-culture hero Neal Cassady and novelist Ken Kesey.

It's not just a rumour. We really are talking about "La Grange" by ZZ Top this week. Stick around for the bonus segment to find out "What's Pokemoning on"! Covers by: Hank Williams Jr., Phish, CMH Steel, Black Oak Arkansas, Vinnie Moore, Power Music Workout Spotify playlist here

Today we take a trip down memory lane and listen to Ozzy Osbourne's "Speak of the Devil" which was released in November 1982. It fits into our world because this album features members of Black Sabbath, Quiet Riot, Night Ranger, and Black Oak Arkansas coming together to regroove a set of Black Sabbath classics. Listen in and you can find out if this is something you should remember or forget. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Photographer, filmmaker, and Alt-porn pioneer Chase Lisbon talks about the shadowy black figures that wake him at night, changing the landscape of the porn industry, Black Oak Arkansas, and killing chickens. The Mirror Cave is produced by Scott Harrison. Music by Acre. Theme by Tectonic Crystal. Acre's music is available at www.monorailtrespassing.com and on band camp. You can reach us at themirrorcave@gmail.com  

From Oral Roberts to Black Oak Arkansas, strange things happen. Whoa! There goes Uncle Ernie runnin' 'round the church! Then, there's bread and wine. Oh, you'll just have to listen (no interpretation necessary).