Podcasts about Blue Cheer

OU812 (pronounced "Oh You Ate One Too") is the eighth studio album by American rock band Van Halen, released on May 24, 1988. It is the band's second album to feature vocalist Sammy Hagar, following the success of 5150. Van Halen began work on OU812 in September 1987 and completed it in April 1988, just a month before its release.

La millor música rock de tots els temps la pots escoltar a ROCK 107. Els concerts, la versions i originals, les millors bandes i artistes del gènere. podcast recorded with enacast.com

Interview with Kevin Shields Of Detention. Detention was one of the first and best bands of the ‘80s New Jersey hardcore punk explosion. Their wonderfully tasteless “Dead Rock 'n Rollers” single became the college radio cult classic of 1983. The song's 97 seconds of primal Ramones-style speed-punk mocked the demise of Jimi Hendrix, Janis Joplin, John Lennon, Keith Moon, Elvis Presley, Jim Morrison, Sid Vicious, John Belushi, and John Bonham — who “played the drug game and couldn't maintain.” They even foretold the drug-related heart attack of Jim Carroll, famous for “All The People Who Died,” screaming, “What are you waiting for? Do it!” Saving the best for last, “Dead Rock 'n Rollers” raised the obvious question: “Why couldn't it be Barry Manilow?” The Detention story goes back to Central Jersey, to the Shields family home in Hillsborough Township, about 20 minutes from the “culture capital” of New Brunswick. Kevin Shields, the fourth of five sons, grew up listening to his older brothers' sophisticated record collection of hippie music that ranged from Blue Cheer to King Crimson. Kevin recalls: “Early on, I knew that rock ‘n roll was something special. I was fascinated.”  “I enlisted in the Coast Guard when I was 17. I was out on my own. I was always a music guy and realized music was getting stale with Genesis and whatnot. I read all the magazines, and the ads in the back, so I sent money to these labels, and came home with albums like Never Mind the Bollocks and Rocket to Russia, and singles by the Slickee Boys and MX-80 Sound. But the coup d'grace was when we stationed in Alameda and I went wild in San Francisco. I went to the Mabuhay Gardens like three nights a week, seeing all the legendary West Coast bands: DKs, DOA, Black Flag. I got thrashed on the education of seeing live bands.”   When Kevin returned home in 1981, he was inspired to make music. “Detention came about because I decided to be a player not a spectator,” he explains. “The easiest way was to recruit my family, so I turned to my brothers. I bought a bass, but I didn't know how to play it. My brother Paul suggested I get in touch with this guitarist Rodney Matejek. He showed me how to play simply, and within months we started coming up with riffs, and what would become songs came very quickly.”  The band — Kevin, Rodney, frontman Paul Shields, and drummer Daniel Shields — played their first show at Raritan Manor on the Somerville Circle, hosted by a young Matt Pinfield in his first radio DJ gig at WRSU (Rutgers). It was a noisy and chaotic affair, with people rolling on the floor — until police arrived and stopped the mayhem. “We were given 100 bucks, and we promised never to play there again,” Kevin says with a grin.  Kevin offers some backstory: “Rob Roth, god bless his pointed head, he had a vision. He got us into the studio in Roselle Park, and he paid for it. All we had to do was get good recordings of the two songs, including the B-side “El Salvador.” It came out great. My brother Paul certainly had the lungs for the job! Those 500 copies got us gigs and got us a lot of notice.” In 1985, Detention released a self-produced self-titled album before disbanding. Kevin's Info https://www.leftfordeadrecords.com dead-rock-n-rollers    

Ah yes, the "Power Trio". So many famous ones come to mind...The Jimi Hendrix Experience, Cream, Blue Cheer, Rush...the list goes on and on. But in this Epysode, we dive into a NOT so famous one. Very little is known about the band Parish Hall. They only recorded the one album, but it's a beauty. If you like early 70's blues-rock, this one is going to hit home for you. I hope you dig Parish Hall as much as I do. -FJ ===LINKS=== Hey, we could use your support. Please consider backing us on Patreon, here's the linky-doo: patreon.com/FarmerJohnMusic We're on all social media platforms, follow us won't ya?? Just search "Vinyl Relics". Email me at farmerjohnmusic@gmail.com ===THE MUSIC=== Here's a list of all the songs used in this Epysode, in order of appearance. Use this link to hear full versions in a Spotify playlist (*denotes track not available on Spotify.) https://open.spotify.com/playlist/3vHT5LwsSVadPcA2x3CVT4?si=0e348a40db6d4a79  *FAIR WEATHER - God Cried Mother CREAM - Sunshine Of Your Love THE JIMI HENDRIX EXPERIENCE - Foxey Lady TASTE - Blister On The Moon MUDDY WATERS - Rollin' And Tumblin' *CHOSEN FEW - Nobody But Me *THE GARY WAGNER BLUES BAND - I Can't Go On Without You PARISH HALL - My Eyes Are Getting Heavy PARISH HALL - Dynaflow PARISH HALL - Ain't Feeling Too Bad PARISH HALL - Silver Ghost PARISH HALL - Skid Row Runner PARISH HALL - Lucanna PARISH HALL - We're Gonna Burn Together PARISH HALL - Somebody Got The Blues PARISH HALL - How Can You Win PARISH HALL - Take Me With You When You Go ??MYSTERY ARTIST?? - tune into the next Epysode to find out… *NEWPORT ELECTRIC - Seemed Like A Good Idea At The Time (new track not yet released) Learn more about your ad choices. Visit megaphone.fm/adchoices

I vores podcast serie "Det tunge stedbarn: Heavy metal-genrens fødsel" fortælles om heavy metal.genrens fødsel i 1970, og genrens udvikling op gennem 70'erne: èt afsnit for hvert metal-år 1970 til 1979. Men hvem og hvad blev heavy metal- og hård rock-pionerer som Black Sabbath, Led Zeppelin og Deep Purple selv inspireret af? Hvordan udviklede rockmusikken sig i en hårdere retning? I den første af to dele af vores prolog, fortæller vi om populærmusikkens udvikling fra den tidlige rock'n'roll i 50'erne, over den britiske bølge i start- og midt-60'erne og den danske pigtråds-scene i samme periode, frem til psykedelisk beatmusik og hård blues rock i power trio-formatet. Som gæst i programmet har vi Kim Kofod (f. 1947), bedre kendt som “Rockuglen”, der er en essentiel figur på den danske metal scene, hvor hans pladebutik Rockuglen var en institution i hovedstadens metal-miljø fra omkring 1983 og cirka 33 år frem - også som pladeselskab og koncertarrangør. Kim er en af de eneste nulevende personer, der dedikeret har været med hele vejen - fra start-60'er pigtrådsmusikken, hvor han selv spillede i band og oplevede The Beatles live i KB Hallen, over ungdomsoprørets hippie beat i sen-60'erne, den politiske rock i 70'erne, og frem til alskens metal-subgenrer i 80'erne, 90'erne og fremefter. Vi kommer blandt andet ind på: – Chuck Berry og Link Wray, som sætter tingene i gang i 50'erne – Hårdhedens hierarki: The Beatles, The Rolling Stones og The Pretty Things – Pigtråd som ungdommens udtryk og skældsord for forældrene – Overgangen fra pigtråd til beat til psykedelisk rock – Skillelinjen: The Who og Jimi Hendrix går amok, Cream blæser salen omkuld – Blue Cheer skruer op og opfinder “heavy” – Grand Funk åbner porten til masse-publikummet POVcasten om heavy metal-genrens fødsel er godt i gang, og vi er på vej til selve undfangelsen i anden del af prologen!

Evolve or die. Any rock band who's had more than one successful album knows this. But the choice paralysis of just how many directions you could go often proves the death-kneel for many metalheads. Elder, when presented with this quandary, simply said “oh we'll do all of it.” From their early days of slab-like doom metal, there was always a mischievous quality to their music, just waiting to burst into flight. From album to album they indulged in bigger and surprisingly beautiful passages, making connections from Blue Cheer and Black Sabbath to Dvořák and Emerson, Lake and Palmer. And once they perfected the formula, they presented “The Falling Veil” unto the world. So listen to our interview with Elder front man Nick DiSalvo, read our thoughts on “The Falling Veil” and hear why it's one of the best of the 10s. “I realized everything I'd been doing in my life meant nothing to me. Because when I wasn't working I was holed up in my room, writing music.”— Nick DiSalvo

This week is the sixth volume of our deep dive into the trippy and groovy beginnings of the heavy stuff! Cut your lava lamp on, gaze at that blacklight poster through the haze of smoke, and join your favorite rock n' roll grave robbers as they dig deep into the core of 70s Acid Rock n' Proto Metal crypt to unearth some obscure bands that helped influence and mold what would become known as Heavy Metal. What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This particular episode is planted firmly in the: LOST category, as all of these recordings occurred between 1970 – 1976. As always, our hope is that we turn you on to something new in a genre and decade that you may have thought you already knew everything there was to know.Songs this week include:El Ritual - “Mujer Facil - Prostituda” from El Ritual (1971)Fury- “Flying” from Sonny Vincent – Primitive 1969-1976 (1972)P2O5 - “All Right” from P2O5 (1976)Atomic Rooster - “Save Me” from Nice ‘N' Greasy (1973)Yesterday's Children - “Paranoia” from Yesterday's Children (1970)Warpig - “Rock Star” from Warpig (1973)Sudden Death - “My Time Is Over” from Suddenly (1972)El Ritual documentary in Spanish on YouTube from 2022 https://youtu.be/K1xz6R9nH3k?si=Gd6I90SC19ZkOLWmPlease subscribe everywhere that you listen to podcasts!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=uIf 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/

This week we continue our chronicle of Night Demon's historic 2014 North American run with the mighty Raven.  We pick up the story 10 shows deep, as the tour rolls into California.  You will hear about the humbling challenges and karmic rewards the touring bands faced in playing modest venues in San Marcos and Isla Vista. We unearth raw, powerful audio clips of these performances, including a crushing version of "Road Racin'" into "Ancient Evil." Jarvis explains why Night Demon drove hours out of their way to spend as many nights as possible at home in Ventura.  And he recounts the pitfalls of a door deal show on a Sunday night in Vegas with no hotel rooms to be found. Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

Was passiert, wenn man Jimi Hendrix und Blue Cheer, die legendäre Rockband, die (wahrscheinlich) den Hard Rock erfunden hat, zusammen einsperrt? Jim geht aufs Ganze und zeigt es uns. Und Raoul kommt mit. Was mit Rock und Vinyl war nie psychedelischer und stonerer. SPOTIFY Playlist 2024 (mit den Songs aus unserem Podcast) Achtung: Die Liste enthält natürlich leider nur die auf Spotify verfügbaren Titel. Wie wir aber alle wissen, gibt es noch ein Musikuniversum jenseits von Streaming. YouTube (der ganze Rest) Facebook (mit News aus der Rockmusik und allem, was glücklich macht) Und schreibt uns doch mal - wmruv2021@gmail.com Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

In Bonus Episode #07, Tobin Mayell joins the show for the first of a two-part conversation honoring the lives of his late parents—Norm Mayell and Christine Waddell. Here, Tobin recounts for us the core elements in his relationship with Norm—open-heartedly offering glimpses into the arc of the their father-son story. From early, unrequited longings to adult acceptances and eventually to the transmissions found in Norm's passing away from cancer in August of 2022, we come see that the father-son relationship has many moments over the course of time and just how much can live inside one parent-child relationship.We learn that Norm was a drummer in such bands as Sopwith Camel, Blue Cheer, and Norman Greenbaum, frequently taking him on the road while Tobin lived with his mother. We also learn that Norm later became a devout golfer, finding a spiritual magic in the game. Across his life we come to see that among other things, Norm lived with a kind-of private wisdom and natural magnetism that drew people towards him.Through this conversation with the How Humans Work show host, Jef Szi, Tobin helps us realize how death and life work hand-in-hand to give us unexpected teachings. Much was born for Tobin in his father's dying process. Tobin's own musical calling found new energy as the journey to memorialize his father placed Tobin—literally and figuratively—behind Norm's drumkit. As Tobin finds himself playing Norm's drums, singing his songs, and playing with Norm's former bandmates is a symmetry that is as satisfying as it is moving. Equally profound is hearing the unguarded connection that accompanies the moment—how childhood hungers were able to come full circle in ways that only Tobin can express. Looking Into the Beyond offers a profound validation the web of life. It shows us something of the essence of Norm's life as a man, a father, and musician, but it also shows us how the act of death is generative to those that live—releasing unfinished hurts and inspiring the energy of life to continue. As always, you are invited to listen-in, because in these two episodes that dive into Tobin's very personal journey of losing both his parents within months of one another, we get a real dose of how life and death collaborate in ways that are impossible to know beforehand.

Hoy en La Gran Travesía viajamos hasta la década de los 60, con los inicios del sonido garage, la llamada Invasión Británica y las raíces del punk. Podréis escuchar a The Seeds, The Trashmen, The Sonics, Rivieras, Animals, Manfredd Mann, los Who, los Kinks, Stooges, Blue Cheer... etc ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Raquel Jiménez, Nicolás SDLRF, Eva Granado, Javi Dubra, Peiper, Leticia, Javifer, Francisco Quintana, Pdr_Rmn, Sgd, José Luis Orive, Utxi73, Patri Lb, Raul Andrés, Jbasabe, Iñako GB, Tomás Pérez Martínez, Eugeni, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Edgar Xavier Sandoval, Hörns Üp, Víctor Bravo, Juan Carlos González, Francisco González, Vicente DC, Ángel Hernández, Marcos París, Dani, Vlado74, Luis Miguel Crespo, Daniel A, Redneckman, Elliott SF, Guillermo Gutiérrez, Sementalex, Jesús Miguel, Ángel Torres, Suibne, Mati, Dora, José Diego … y a los mecenas anónimos.

EMPIRE STRIKES BACK! - Day 16 "RAT BURGER!!!" All I'll ever need is Michael Moriarty lip-syncing and gyrating to Blue Cheer's "Summertime Blues."

Schoolyard friends Manuel Göttsching and Hartmut Enke loved the Beatles and the blues ... like everybody else in a Berlin rock band in the late '60s.  But then they got hold of Blue Cheer's record and some blow-the-doors-off British amps.   Soon wunderkind drummer Klaus Schulze was at their door, sniffing around the new equipment.  Things were gonna get LOUD.  Ash Ra Tempel's soundquakes and soundscapes show off a dynamic range that is unmatched in Krautrock.  Come join us as we talk about the band, with special attention given to their first two records.Enter a world of anvils and dream machines, of universal vibrations and floral mortality.  Enter ... the Tempel.

Singles Going Around- High Tide and Dead GrassThe Byrds- "So You Want To Be A Rock 'N' Roll Star"Pink Floyd- "Free Four"Buffalo Springfield- "Broken Arrow"Dr John- "Mama Roux"The Beatles- "I Am The Walrus ("No You're Not!" said Little Nicola)Public Nuisance- "Magical Music Box"Led Zepplin- "Dazed and Confused"Cream- "Sitting On Top Of The World"Blue Cheer- "Rock Me Baby"The Doors- "Spanish Caravan"The Rolling Stones- "Citadel"The Pretty Things- "Baron Saturday"Jimi Hendrix- "May This Be Love"Creedence Clearwater Revival- "Walk On The Water"*All selections from the original lp's.

Hoy en La Gran Travesía os dejamos el especial dedicado a la escena de San Francisco, con grupos como Grateful Dead, Jefferson Airplane, Janis Joplin and the Big Brother Holding Company, Beau Brummels, Moby Grape, Flamin´ Groovies, Santana, Blue Cheer, Steve Miller Band... Aquí os dejamos el enlace al especial que le dedicábamos al Festival de Woodstock de 1969 https://www.ivoox.com/128330-65039-woodstock-revisited-aniversario-especial-la-gran-travesia-audios-mp3_rf_74143461_1.html y aquí el que le dedicábamos al Festival de Monterey en verano del 67 https://www.ivoox.com/128293-monterey-1967-el-primer-gran-festival-de-audios-mp3_rf_110541194_1.html Además informaros que aquí podéis encontrar toda la información de la Podcast Party del próximo sábado 30 de septiembre en Madrid, evento que estamos organizando desde La Gran Travesía en el Círculo de Bellas Artes y en la Sala Rockade de Malasaña. Pincha en el enlace siguiente para ver toda la información, todas las posibles recompensas, actualidad, vídeos... https://vkm.is/podcastparty Agradecer en especial a los mecenas del evento, Puri Vicente, Dora Martínez, José Diego, Perico Martínez, Timanfaya Custodio, Jorge Díaz del Campo y Exploradores de Ondas, Mar, Miguel Ángel Torres, Daniel Pérez, Ángel Rodríguez, Joaquín Roca, Lacatus, Inés Fadón, Jorge Placeck y El Vuelo de Yorch y Malamanga Records. Muchas gracias por vuestro apoyo y generosidad!!

This episode focuses on two American bands that separately influenced up and coming metal bands and Progressive Rock bands.  From Long Island we have Vanilla Fudge and from San Francisco, Blue Cheer. Both played with a heavy grungy sound and they both played with power. Please feel free to donate or Tip the show at sonictyme@yahoo.comPlease have a look at these special interest sites.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookEmma Bonner-Morgan Facebook music pageThe Music Of Emma Bonner-Morgan | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/

PROG Rock Podcast - Pete Bingham from Sendelica talks to Phil Aston Sendelica are based in West Wales, UK. A unique instrumental psyche-space-rock band whose work blends early psychedelic outings, occasional heavy riffing, and electronic ambient musings. The core band in UK is currently: Pete Bingham on guitars & electronics, Glenda Pescado on bass, Jack Jackson on drums, Lee Relfe on sax and Colin Consterdine on beats and synths "Imagine the Doors are having a jam with Jefferson Airplane, The Grateful Dead, Iron Butterfly and Blue Cheer while the vocalists are having a drink in the local bar" Phil Aston or "Imagine standing at the top of the stairs of a music club in 1973, the music is rising up through the stairwell to meet you. It is drawing your down the stairs to meet it, the room is dark with with only the outlines of the musicians on stage being visible. The music rides on a sea of synths, the tracks extended across whole side of orange vinyl. This is Sendelica...." Phil Aston Phil Aston : Now Spinning Magazine Become a Subscriber and help support Now Spinning Magazine Get to see all our videos before they are released to the public. Access to exclusive video and photo content Special offers on Now Spinning Merch (coming soon)

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Singles Going Around- Steak Potatoes And CheeseBelieve it or not, this week's episode has a theme. And it is devoted to friendship; which a better part of of one's life consist of.Larry Williams- "Dizzy Miss Lizzy"The Lovin Spoonful- "Almost Grown"Frijid Pink- "I'm On My Way"Vaqueros- "Island In The Sun"Eric Clapton & The Powerhouse- "Crossroads"Bo Diddley- "Road Runner"The Beach Boys- "Gettin' Hungry"Blue Cheer- "Rock Me Baby"Link Wray- "Raw-Hide"Wilson Pickett- "Ninety- Nine and A Half"Jose Feliciano- "In My Life"*All take from the original records

In studio Fabio Barbieri. Musiche: MC5, Blue Cheer, Blondie, Smiths, Colin Newman, Bush Tetras, Talking Heads, Cocteau Twins, Peter Erskine, Palle Danielsson & John Taylor, Vijay Iyer Trio, Paul Bley, Gary Peacock & Paul Motian, Steve Swallow. Letture: Susan Cain.

Welcome to the second last show of Season 5, i.e. Episode 51.  It marks the 5th birthday of The Story of Rock and Roll Radio Show.  This episode went out live on 22 December 2022 on Rebel Rock Radio at 19h00 sharp.  Sadly the cell phone towers did not play ball and the signal was a serious killjoy.  The show however went out just perfectly on the podcast.  I used the opportunity to showcase some of the tracks that make TSORR what it is.  Some of these tracks are pretty deep and have backstories that are detailed in the book The Story of Rock and Roll.   This show gives an incredibly short reminiscence of some TSORR history and a bit of a run-through of the bands that form the foundations of The Story of Rock and Roll.   The idea was to celebrate the music and show appreciation for listeners who have supported the show for the last 5 years.  The celebration kicked off with The Boomtown Rats and the opening track off The Fine Art of Surfacing.  This album is part of the critical few albums that mark the start of my lifelong love of rock and roll. From there we moved to KISS and Judas Priest, two bands without which there wouldn't be a TSORR.  The tracks ‘Strutter' and ‘Metal Gods' did the honours.  Next, we covered two very important SA bands, Radio Rats with ZX Dan and Rabbitt with ‘Working For The People.   We checked out some of the key bands that form a big chunk of TSORR, Rainbow, Deep Purple, ACDC, and Ozzy Osbourne.  From there we covered some Punk because without a slight UK Punk detour this would not be TSORR.  We listened to The Strangler with Nice n' Sleazy, Sex Pistols with ‘Submission', and Stiff Litte Finger with ‘Alternative Ulster' off Inflammable Material.  We went back to the Metal with Def Leppard, Iron Maiden, Accept, W.A.S.P., and Metallica. From there we moved on to the Radio Show and the Mix FM days and how Leon Ekonomides offered me my own show in 2017.  I played the track Leon and I bonded over when he interviewed me about the book.  The track was ‘Gunfire' by Blue Cheer.  We also celebrated the first-ever TSORR podcast (No 12, check it out if you haven't heard it) by starting with Jack Hammer and Mr. Midnight.  It felt right to follow up with a track I played on the show when Piet Botha passed away in 2019 called Highway To The Sun by Johnathan Martin.  We also remembered some other losses that we marked in time on TSORR, Eddie Van Halen in 2020 and Charlie Watts in 2021.  With the signal so bad and so many people struggling with the signal the only way I could do this justice was to add another hour to the show.  What the hell you only turn 5 once.  The last hour was a tribute to some amazing people who have supported the show and just as we were reaching the high point the whole fucking thing ended abruptly with a systems crash that prevented me from saying thanks and goodnight.  Such is life, we will have another bash at getting this right next year  Artists featured:  Sophie Lloyd (feat Nathan James), The Boomtown Rats, Kiss, Judas Priest, Rabbit, Radio Rats, Rainbow, Deep Purple, ACDC. Ozzy Osbourne, The Stranglers, Sex Pistols, Stiff Little Fingers, Def Leppard, Iron Maiden,, Accept, W.A.S.P., Metallica, Blue Cheer, Rush, Jack Hammer, Johnathan Martin, Van Halen, The Rolling Stones, Rory Gallagher, Cold Chisel, ACDC, Seether, Buckcherry, Joe Bonamassa, Kid Rock, The Clash, The Distillers, Massive Wagons, Foo Fighters, Halestorm, Thin Lizzy, Rose Tattoo, Guns ‘n' Roses, Tom Petty, Neil Young, The Uninvited, The Cruel Sea, Social Distortion, My Chemical Romance, Fokofpolisiekar  The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

La mayoría de Power Trios en el rock y el metal consisten en bandas con un formato de guitarra, bajo y batería. Este "prototipo" nace (o se populariza) con la primera banda recomendada en este episodio CXXIII de #AloBestiaPodcast, donde destacamos y reconocemos el trabajo de aquellas agrupaciones que hacen música espectacular con tan solo 3 integrantes.Grabado el 02 de noviembre de 2022.Escuchen la lista de reproducción (playlist) de este episodio en:- Youtube: https://youtube.com/playlist?list=PLzEUmf3C1pXH1hBbHssMaShKWchaAZSmp- Spotify: https://open.spotify.com/playlist/0yJYsJyg9OJfu4PEichO16?si=78aed0a6c1254f0d- Deezer: https://www.deezer.com/us/playlist/10854016802Bandas recomendadas en este episodio:Cream - Tales Of Brave Ulysses [Disraeli Gears, 1967]Blue Cheer - Summertime Blues [Vincebus Eruptum, 1968]Coroner - Die by My Hand [No More Color, 1989]Silverchair - Anthem for the Year 2000 [Neon Ballroom, 1999]Imperial Triumphant - Excelsior [Alphaville, 2020]Nuclear Power Trio - A Clear and Present Rager [A Clear and Present Rager, 2020]Radkey - Romance Dawn [Devil Fruit 'EP', 2013]Dying Fetus - Compulsion For Cruelty [Compulsion For Cruelty 'Single', 2022]

And we're back! As promised, our fine friend Dustin Prince continues to hang with us in GoodList Studios for Part 2 of our final Cover Songs Series installment. Since Top Ten Cover Songs Volume 10 is a double episode, this week will cover #15-11 of our supersized playlist. Viva le covers!If you missed Part 1, listen here:https://www.podomatic.com/podcasts/alltimetopten/episodes/2022-10-24T04_00_00-07_00Check out the Complete Cover Songs playlist on Spotify:https://open.spotify.com/playlist/4MYLdxgfChXizjkH8Jg7ax?si=125d0fb631fd49efThanks to new Patreon Club member Stephane Herridge for joining our little group! Tomorrow - November 1st - those fine folks will enjoy a bonus podcast as The Numbers Girl's BFF Shannon Hurley joins for Top Ten Opening Lyrics, a rewards episode for $10 tier member Terry McGinley. Get into these monthly bonus episodes by joining for as little as $2 a month:https://www.patreon.com/alltimetopten

Ending this two Part series with the legendary Randy Holden was something cosmic and spectacular. This is the most intimate betrayal of the guitar god's life as we explore beyond the music! Holden eventually stopped playing music all together, if you can imagine, and move to Hawaii where he fell in love with commercial fishing before buying his own boats and becoming his own captain! Holden really held on for dear life as things unfolded for him over the decades with loss, heart ache and existentialism all around him, but he never gave up! Relocating back to California he began to play again and with an old friend from Blue Cheer, the late Paul Whaley that recorded one last album together. Holden's brainchild "Population 2" got it's proper release on Riding Easy Records a few years back and has since then gained a whole new audience and generation for Holden's groundbreaking work! I'm beyond excited and honored to share this beautiful and intimate ending to the legendary guitarist story. Enjoy!

One of the greatest guitarist of all time, Randy Holden is a house hold name not only in rock n' roll, but in HEAVY METAL! Prior to joining Blue Cheer, Holden was always and still is, on a mission, a cosmic mission to find the right tone and sustain to project his guitar sound to the cosmos.  In this two part series Holden and I talk about his early days with Fender IV, Sons of Adam, what was left of Blue Cheer towards the end of the 60s when he joined and recording the heaviest most explosive record of all time, "Population 2". Enjoy!

Today's fabulous program features tuneage from Blue Cheer, ELP, Jean Luc Ponty, Genesis, Fleetwood Mac, Foghat, Big Brother & Holding Company, Savoy Brown, Jefferson Airplane, It's A Beautiful Day, Peter Gabriel, Quicksilver Messenger Service, Spirit, Steve Miller Band, Deep Purple, Blood Sweat & Tears and Dave Mason.

Backstage Auction's "The Jon and Marsha Zazula Private Collection Auction" runs through September 11, 2022. It's an auction officially endorsed by the Zazula estate, auctioning off the most personal items of Megaforce Records owners (Jon and Marsha Zazula) symbolizing their storied record business career. There are first pressings like Metallica's Kill 'em All debut and interesting items with crazy stories behind them (the keys to Metallica's stolen rental van). Also bands who served the heavy metal underground from the beginning, like Raven, Venom and Anthrax. However, it's not all heavy metal. The Zazula's helped revamp the careers of Ace Frehely and Blue Cheer, and advanced the music of artists like the bluesy soul of Warren Haynes and the poppy Bif Naked. As with all auctions that center on record companies, there's lots to be found for the music collector and music memorabilia maven.Listen to the podcast and hear Backstage Auctions' owner Jacques van Gool explain auction items in detail. 

The Electric Flag was the brainchild of guitarist Mike Bloomfield, and Long Time Comin' was their debut studio album.  The core of the band was formed by Mike Bloomfield on guitar, Barry Goldberg on keyboards, and Buddy Miles (soon to be with Jimmy Hendrix's Band of Gypsies) on drums.  Additionally, Nick Gravenites would sing lead on several tracks.With "Long Time Comin'" Bloomfield wanted to create a sound that would feature what he called "American music."  He would draw inspiration from many sources including traditional country, gospel, and R&B, and the result would be a fusion of rock, jazz, R&B, and an early use of a horn section.  The sound would be described as an "eclectic approach toward American musical."  Critics would complement the group's sound on this album, though it would be somewhat of a failure commercially on the charts.The Electric Flag would put out two albums in 1968, but would break up shortly before their second album was released.  Drug use affected the group's ability to perform, and Bloomfield would later admit that heroin caused his playing to fall apart.Wayne brings us this classic of southern rock. WineThe full name for this song is actually "Drinking Wine Spo-Dee-O-Dee," and is a traditional boogie-woogie blues song about a famous and not very good wine called Thunderbird ("the word is Thunderbird").  It was a creation of E & J Gallo Winery, made cheap with a high alcohol content.Texas Buddy Miles sings lead on this blues track.  This sound would find traction with later groups like ZZ Top and Stevie Ray Vaughan. Bloomfield's playing was inspired by groups he heard in Chicago, and he would become known as one of the premier guitarists in rock music.  "I Wouldn't be an American, If it wasn't for Texas."Killing Floor This is an updated take on the Howlin' Wolf blues classic.  It has a blues feel but with an upbeat tempo.  The Electric Flag would cover this long before Led Zeppelin would make it the basis for "The Lemon Song."  Jimmy Hendrix would play this at the 1967 Monterey Pop Festival.Groovin' Is Easy This is the "hit single" from the album.  The sound is different from the other blues-based tracks, and is a bit more time stamped for the age.  "Groovin's so easy, baby, if you know how.  You don't have to keep yourself forever slavin' - go out an chase whatever you're cravin'." ENTERTAINMENT TRACK:main theme from the animated series “Speed Racer”While it would become a staple of after school and Saturday morning cartoons in the United States, this animated series was crossing the finish line of its run in Japan in this month.   STAFF PICKS:Summertime Blues by Blue CheerRob starts off our staff picks with a cover of Eddie Cochran's song from 1958.  Blue Cheer was a psychedelic band out of San Francisco, and considered a precursor to the heavy metal band.  Many consider this song to be the first heavy metal song to chart in the U.S.  They were considered the loudest group in concert at the time.I Thank You by Sam & Dave Bruce takes a soulful turn with the final Sam & Dave release on Stax records, as Stax ended a distribution deal with Atlantic Records (from which Sam & Dave were on loan).  It hit number 3 on the Billboard Pop Singles chart.  ZZ Top would cover this song later on, and it would be their second top 40 hit after "Tush."(Sittin' On) The Dock of the Bay  by Otis Redding Brian's staff pick is another song from Stax records, and the last single from Otis Redding.  Redding died in a plane crash 3 days after recording this song.  It was Redding's biggest hit, and the first posthumous release in the U.S.  It hit number 1 on the Billboard Hot 100.Are You Gonna Be There (At the Love In) by The Chocolate WatchbandWayne closes out the staff picks in fine hippie style with  this band out of Los Altos, California.  The Chocolate Watchband started in 1965 and would break up by 1970.  Supposedly Jerry Garcia plays guitar on this track. The story is that when the band's guitarist was too high to play, Garcia was in another studio in the same building, and sat in. INSTRUMENTAL TRACK:(Sittin' On) The Dock of the Bay by King Curtis & the Kingmakers"Dock of the Bay" was so popular that it featured both Redding and this instrumental version on the charts.

Your 2 favorite grave robbers are back at the Firehouse this week to light one up and inhale some of the finest obscure Stoner Metal! Join Robert and Kevin as they dive head-first into the smokey world of fuzzed-out, trippy metal from 8 bands YOU should be listening to. Remember; if you don't cough listening to this episode, you don't get off…New to InObscuria? It's all about digging up obscure Rock n' Punk n' Metal from one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. In this episode, we cover bands and songs that are Lost on most of the music-listening public. Come join the circle and get your groove on with us this week! Puff puff give… Songs this week include:Red Giant – “Chopper ” from Dysfunctional Majesty (2010)Doctor Smoke – “Reborn Into Darkness” from Dreamers And The Dead (2021)Trouble – “Revelation (Life Or Death)” from Psalm 9 (1984)Kylesa – “Crowded Road” from Spiral Shadow (2010)Blood Of The Sun – “Beyond The Cold” from Blood Of The Sun (2004)Mammoth Mammoth – “GO” from Vol. III Hell's Likely (2012)Kadavar – “Last Living Dinosaur” from Berlin (2022)Mystic Prophecy – “Space Lord” from Monuments Uncovered (2018)Please subscribe everywhere that you listen to podcasts!Grab some swag!: https://www.redbubble.com/people/inobscuria/og-shopVisit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/

Quinn takes a look at the fundamental pillars of Heavy Metal and its origins in the late 60's and early 70's asking "Who Started It All?" Deep Purple, Led Zeppelin, Blue Cheer, or Black Sabbath?

Three versions of the rock n roll classic, "C'mon Everybody" - the original, a garage gem, and a late 60s oddity. Eddie Cochran got the party started in 1958 (1:12).  We confront the conspiracy of silence that surrounds the song's instrumentation, but we can tell you that are rockabilly riffs galore and some spiffy strum 'n' drum.  We discuss how EC's lyrics walk the line between wholesomeness and wild teenage rebellion: a coming-of-age story in every line! We deem the song a proto-hippie communal anthem, because why wouldn't we?  The second versh is different from the first - The Staccatos and their 1966 rendition (58:08). HEY! Here's a garage-ified version by the Ottawa band who will become The Five Man Electrical Band. This version adds FUZZ and modulation.  Will you like it? All SIGNS point to yes. The last to come and the last to leave are NRBQ  (1:18:30) . The very first song the New Rhythm & Blues Quartet ever released way back in '69- wotta statement! A non-heavy version which came out a year after Blue Cheer crushed another Cochran classic. They make it longer, keep the fun intact and add handclaps as a matter of fact. Ah, who cares?!

The gang chews through the implications of Sam Dunn's second episode of "Metal Evolution" which focuses on the rise of American hard rock in the late 60s and early 70s. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gang chews through the implications of Sam Dunn's second episode of "Metal Evolution" which focuses on the rise of American hard rock in the late 60s and early 70s.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

It began with the Beatles' “Helter Skelter.” It was distilled to its dark essence by Black Sabbath. And it's flourished into a vibrant modern underground, epitomized by Newcastle's Pigs Pigs Pigs Pigs Pigs Pigs Pigs. This is the evolution of heavy music, and “Electric Wizards” is your sonic gazetteer. The voyage is as varied as it is illuminating: from the lysergic blunt trauma of Blue Cheer to the locked grooves of Funkadelic, the aural frightmares of Faust to the tectonic crush of Sleep, alighting on post-punk, industrial, grunge, stoner rock, and numerous other genres along the way. Ranging from household names to obscure cult heroes and heroines, “Electric Wizards” demonstrates how each successive phase of heavy music was forged by what came before, outlining a rich and eclectic lineage that extends far beyond the usual boundaries of heavy rock or heavy metal. It extols those who did things differently, who introduced something fresh and exciting into this elemental tradition, whether by design, accident, or sheer chance. In doing so, “Electric Wizards” weaves an entirely new tapestry of heavy music.J.R. Moores is the resident psych-rock columnist for both the Quietus and Record Collector, and his work has also appeared in the Wire, Guardian, Bandcamp Daily, and Vice. He joins us from his home in York, England.Purchase a copy of "Electric Wizards: A Tapestry of Heavy Music, 1968 to the Present" through Reaktion Books: http://www.reaktionbooks.co.uk/display.asp?ISB=9781789144482Listen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/2tzozyWXcQsU05mxCOkR4t?si=a75b081983a44882Follow J.R. Moores on Twitter: https://twitter.com/spinal_bap?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorThe Booked On Rock Website: https://www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: https://www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockSupport Your Local Bookstore! Find your nearest independent bookstore here: https://www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Music by Crowander: “Whoosh” & “Nasty”[ https://freemusicarchive.org/music/crowander]

Hello Basementeers ....Yes were back after a week or two of computer flubs, but were working bugs out as always.We have a good show for you on this weeks spotlight show by a Psych band from the late 60's called: BLUE CHEER.I am sure a lot of people have not heard this band but maybe heard their name. Well your going to hear there old stuff from 1968-1972 at least.They were one of the early heavy metal bands and a lot of metal modern bands were influenced by Blue cheer, as an example, Nirvana ect.Well let's just give this one a play.....Intro: Baby Finger1. Good Times are So Hard To find2. I'm The Light3. Come & Get It4. Summertime Blues5. Fool6. When It All Get's Old7. Better When We Try8. Rock Me Baby9. Black Sun10. Highway Man11. Aces & Eights 12. The Hunter13. Natural Man14. Sandwich 15. Feathers From Your Tree16. Disbelieving17. Out Of Focus18. Heart Full Of Soul19. Ain't Love Supposed To Be This Way20. I Want My Baby Back21. Rock & Roll Queens22. BelieverOutro: Babaji (Twilight Raga) 

#therods #the450s #anthrax #dreamtheater #manowar #bluecheer #TTQuick #overkill #drummer #guitar #youngturk #Producer This week we have Carl Canedy drummer for the band The Rods and now with his new band The 450's. We also talk about the bands he's produced like Anthrax, his time in Manowar a story about Blue Cheer and tons more. Find Carls websites here: Facebook- https://www.facebook.com/profile.php?id=1633587692 Website- https://canedyband.com/canedy-warrior The Rods- http://www.therods.com/ The 450's- https://the450s.com/ Also visit OnlineMetalPromo.Net if you or your band needs to get your music out to the public for reviews, interviews and more. Get a copy of Wayne's band Project Resurrect here: ProjectResurrect.bandcamp.com If you would like to donate to our show, you could do so to our paypal address Openurlife@aol.com Buy Our T-Shirts Here: www.StoreFrontier.com/RatSaladReview Visit our website at: www.RatSaladReview.com Facebook: www.Facebook.com/RatSaladReview Instagram: www.Instagram.com/Rat_Salad_Review Twitter: www.Twitter.com/Rat_Review Subscribe to our Video channels Youtube:https://www.youtube.com/channel/UCsyM... Bit Chute: https://www.bitchute.com/channel/QKQq... Subscribe to our Podcast Network. Where we have more shows. https://anchor.fm/rat-salad-review iTunes: https://podcasts.apple.com/us/podcast... Spotify: https://open.spotify.com/show/3cfDC7k... Stitcher: https://www.stitcher.com/show/rat-sal... I Heart Radio: https://www.iheart.com/podcast/256-ra... --- Send in a voice message: https://anchor.fm/rat-salad-review/message

Big changes happening here, as we add a *fourth* Diarist (!) and spin *twelve* classic tunes into the mix. In this episode we reach back before 1975 for our selections, and we find Billy Preston, Elton John, David Bowie, Blue Cheer, Creedence Clearwater Revival, Jesus Christ Superstar, Led Zeppelin, Rod Stewart, Van Morrison, Fela Kuti, the MC5, and the 5th Dimension.As always, find the Playlist on Spotify + Apple Music and your Extras on Twitter.Credits: Intro/ Outro — the Februarys, "Does Your Father Know"/ "... In a Letter." 

This week I am joined once again by the magnificent DeeDee Keel as she shares some never before stories from her days working at the Whisky a Go Go! DeeDee Keel is a rock and roll woman with a Heart of Gold! We first had the great pleasure of chatting with DeeDee back in Episode 124 where she shared stories about growing up in Venice Beach down the street from The Doors, scoring a primo gig at the Whisky a Go Go where she worked for the next 12 years, what it was like to be a part of the Led Zeppelin crew, her personal groupie tricks and touring experiences with her then husband Ron Keel. Every time I have the pleasure of talking with DeeDee she blows me away with another story from her incredible past. When I asked her to return for a second episode she came prepared with some extremely fun, never before heard stories from her time on the Sunset Strip. DeeDee talks about fond memories at the Riot House and Sunset Plaza, going full circle with Deep Purple drummer Ian Paice and Blue Cheer's Leigh Stephens, her relationship with guitarist Sam Mitchell, and a not so friendly encounter involving Mott the Hoople frontman Ian Hunter. Oh, and what sexy guitarist did DeeDee save from drowning? Tune in to find out! You can follow DeeDee on instagram at @deedeekeel and her concert photo account @lensgroupies If you haven't listened previously, make sure to check out Muses first interview with DeeDee back in Episode 124! You can also check out our 20 Questions Blog Post with DeeDee! Learn more about your ad choices. Visit megaphone.fm/adchoices

Gaylord & Holiday - Dixie (1977) A remnant from the Amherst Records Story show.  Santiago - Nice And Slow (1976) A remnant from the Amherst Records Story show.  Bobby Hatfield - Messin' In Muscle Shoals (1971) One half of the Righteous Brothers records some forgettable pseudo-Americana, but you can't take the pure show-biz mawkishness out of the delivery.  Bruce Haack & Miss Nelson – (Excerpt from) Dance, Sing, And Listen Again & Again! (1963) Included here because this was an early attempt to use synthesizers for more than burps and squeaks. A children's album that's pretty strange but not bad.  Charles Dodge – (Excerpt from) Synthesized Voices (1976) Liner notes: "A1 and B realized at the Columbia University Center of Computing Activities and the Nevis Laboratories A2 realized at the Bell Telephone Laboratories" Pretty strange synthesized vocal music.  Cradle - Man Is A Man (1970) The Quatro sisters record a kind of Moody Blues meets Blue Cheer hybrid of prog. Suzi Quatro quit to become a solo star (mostly in England) and as Leather Tuscadero on Happy Days. Patti Quatro appeared on Fanny's Rock and Roll Survivors album. The single from that album was a cover of "I've Had It", which I remember them performing on American Bandstand, but it didn't help. I still felt kinda funny watching them.  Don Powell - Black Man (1972) Tronquista - Hoffa's Blues (1966) Rare 1966 blues release by an anonymous R&B / blues singer in a tribute to Teamster's President Jimmy Hoffa who was very popular with African-Americans for his stand on equal rights. It was pressed in 1966 for the Teamster's convention in Miami and was available only at this event. The name Tronquista is the name used for the Teamsters union in Puerto Rico so this may be a clue to the identity of the artist and suggests it was privately pressed in the Miami area rather than union headquarters in Detroit. John Strand - Remembering Laci (2003) From WFMU: "Remembering  Laci" was written and performed by John F. Strand, a guard at Tracy, California's Deuel Vocational Institution.  Here's the Wikipedia article.  Lila - Step Into Time (1978) Liner notes: Dear Friend, We are happy you are listening to our songs of the Mother. This album was inspired by the ideals of Sri Ramakrishna (1836-1886) and his wife Sarada Devi (1853-1920), great devotees of the mother, who dedicated their lives to loving tolerance and appreciation between devotees of all religions and all paths. "All the main religions and spiritual paths are true", Ramakrishna said, after practicing 80 of them one by one. "God is Form and Formless Mother, and Father, Son, Friend, Beloved. He is available in whatever way the individual heart yearns for him". We hope our songs help you in your own way. We bow to your soul and individuality. Everyday day at noon, we pray for a new world of Love and Harmony. Join with us if you would like. Lila Lou Christie - Mickey's Monkey (1969) You know I am a big fan (for various reasons) of Lou Christie's Buddah Records period. From the late '60s to the early '70s, he made some pretty odd recordings, but he also made the wonderful Paint America Love. This was the album before that.  The Mam'selles - Oye Coma Va (1969)  Voodou Juju - The VooDou Ju Ju Obsession Part 1 (1969) Richard O'Brien - Shock Treatment (1981) You kids love that Rocky Horror Picture Show. But you might not know is that there was a sequel. It was called Shock Treatment. It was not very good. And it went virtually unnoticed. In fact, it only showed at midnight movies (as did the Rocky Horror zeitgeist in time). But without the electric Tim Curry on screen, it was just another "let's make a move, guys!" dynamic. I saw RHPS once and I felt horribly embarrassed. And it takes a lot to embarrass a man who mixed plaids with stripes. I cannot imagine this. This version of the theme song is not on the OST, as it is slightly more radio-friendly (in its time) than the cast version.  Star Drek - Bobby Pickett and Peter Ferrara (1976) Yeah, the same Bobby Pickett that had a big hit with "Monster Mash". That one oddball hit kept him in cheap capes and attempts at all sorts of permutations, including comedy and disco.  Stephen Kalinich - If You Knew (1969) In 1969, he recorded his only album, A World of Peace Must Come, with production by Brian Wilson. It was unreleased until 2008. The Beach Boys appear on some of the tracks from the album. While under contract as an artist signed to the Beach Boys' Brother Records, Kalinich co-wrote several songs released by the group including "All I Want to Do", "Be Still", "Little Bird", as well as "A Time to Live in Dreams" with Dennis Wilson. Many Beach Boys completists are unaware of their collaborations with Kalinich and Charles Lloyd. These people are idiots.  Stephen Kalinich - The Magic Hand (1969)  Stop Smoking...Stop Over-Eating With Reveen (1978) Excerpt from this nutty record out of Canada. Peter Reveen quickly gained fame across North America with his stage shows. AKA Reveen The Impossibilist.  Supernatural Family Band - Thank You (Falettenme) (1976) "Thank You (Falettinme Be Mice Elf Agin)" was a 1969 hit for Sly and the Family Stone. This is a crazy cover with young girls offering up the least soulful interpretation since Ann Margret. But somehow all the craziness works for me. I don't know. The tuba? The harmonica?  The Average Disco Band - I Want You (She So Heavy) (1976) A remnant from the Amherst Records Story show. Listen closely and you can hear a swarthy male voice intone "J'taime". Maybe some Serge Gainsbourg floating around? This song bears almost no resemblance to the Beatles version.  The B.C. & M. Choir - Stealing In The Name Of The Lord (1969) "B.C.& M." stands for "Baptist, Catholic & Methodist Choir."  The Eric Burdon Band - City Boy (1975) The Mighty M.C.'s - Drugs, Don't Get Involved (1986) The Minute Men - Please Keep The Beatles In England (1964) The United States of America - Osamu's Birthday (1968) To be rerecorded by Joe Byrd and the Field Hippies the following year. In THAT version, the vocals were recorded phonetically with backward backing, then reversed. Interesting, but she was no Dorothy Moskowitz.  Bruce Haack & Miss Nelson – (Excerpt from) Dance, Sing, And Listen Again & Again! Bill Niles and His GoodTime Band - Bric-a-Brac Man (1967) Bill Spiller - Hot Pants Girls (1971) Byron MacGregor - How Good You Have It In America (1974) Carol Channing & Jimmy C. Newman - Lousiana Cajun Rock Band (1978) Senator Sam Ervin - Bridge Over Troubled Water (1974) Stop Smoking With Reveen Excerpt (LP)

Olá ouvintes, no nosso programa de hoje faremos uma visita histórica ao mundo do rock. Apresentamos uma mostra de alguns bons sons do tradicional heavy metal, um dos de estilos mais populares no planeta. Nossa produção enfocou algumas bandas do “lado B” do metal em seu começo que foram destaques no meio. Essa playlist não possui o caráter didático ou enciclopédico, a abordagem não permita, muito embora seja condizente. A visão é bem particular do nosso editor que vivenciou a experiência de conhecimento e apreciação no auge do estilo. O Heavy Metal notabiliza-se por sua estrutura sonora ser centrada nos vocalização forte, poderosa e sensível, riffs de guitarras em power chord, solos longos e virtuosos e de secção rítmica intensa e pesada. É um gênero que deu vazão para diversos subgêneros, variações e crossovers até os dias atuais. A gênese do estilo remete aos anos 60 e 70, com a evolução do rock de conotação mais psicodélica, pesada e dramática – garage-blues e hard-rock. Alguns celebres nomes de bandas americanas e inglesas como Cream, Blue Cheer, Steppewolf, Grand Funk Railroad, Deep Purple, Black Sabbath, Led Zepp, UFO, entre outras, contribuíram para a formação. Nessa playlist não apresentamos bandas consagradas e precursoras como Judas Priest, Saxon, Iron Maiden, Motorhead, Venom, Metallica, Megadeath, Slayer, Scorpions, etc. e primamos por outras não tão famosas, mas que tiveram ótimos trabalhos lançados e com boa repercussão. Enfocamos as bandas gringas – temos apenas uma brasileira de destaque - devido ao contexto histórico internacional e ao espaço restrito do programa, a cena metal nacional merece um capitulo à parte com bom motivo de pauta para um programa oportuno. PLAYLIST 1 – “Lady Strange” – Def Leppard 2 – “Angel Witch” – Angel Witch 3 – “Story so Far” - Tygers of Pan Tang 4 – “Hot Lovin” – Picture 5 – “Restless and Wild” – Accept 6 – “Concrete Cancer” – The Obsessed 7 – “Thor (The Powerhead)” – Manowar 8 – “All the Way” – Triumph 9 – “Shout It Out” – Warlock 10 – “Troops of Doom” – Sepultura Produção e apresentação Ricardo Pinto (@ricardoppaiva), Alex de Souza (@ombudsmandeinsta) e Jesuino André (@jesuinoaoliveira). Agradecimentos aos parceiros revista O Inimigo (@revistaoinimigo), loja de presentes Mina Flor (@minaflor_minaflor) e Alfonso Turismo (@alfonsotour João Pessoa). Contatos: www.meusons.blogspot.com https://www.megafono.host/podcast/meu-sons meusonspodcast@gmail.com @meusons (instagram) @meusonspodcast (twitter) @alternativab (instagram) Use máscara e tome a vacina! Ate o próximo programa! --- Send in a voice message: https://anchor.fm/alternativab/message

Episode 29 of season 4 aired at 7 pm on Thursday 22 July 2021.  It was a difficult show to be honest, as you may well know there is a lot of trouble specific to South Africa at the moment, and like everyone, we are battling Covid.  This insidious virus claimed the life of Leon Economides on Monday this week.  Leon was a mentor to all of us on Rebel Rock Radio, it was Leon who got me on to Mix 93.8 FM and you can say that without Leon you may not be listening to this podcast.  Leon was respected throughout the world for his knowledge and passion for the music we love.  He genuinely was a walking rock encyclopedia and I say a few words about him during this episode.  The airwaves were very quiet for the first 90 min of the show which always makes it hard to choose the music.  It felt a bit disjointed at the time but the end result is fine I believe, you can be the judge.  Kicking off with some lesser-known bands like Resurrection Kings and Devils Train, we moved through the usual ACDC, Motörhead, Kiss, Whitesnake type fare interspersed with heavy stuff like Pantera, Slayer, and Five Finger Death Punch.  The new stuff came from KK's Priest and Iron Maiden and a band of youngsters called AMH.  AMH stands for Adam and the Metal Hawks which is what the album is called.  This is going to confuse the shit out of everyone, people are not going to know what to call them.  But the music is great.  I buffered it with Greta Van Fleet and a band of youngsters out of the UK called Equator, all three bands showing that rock music is in good hands and very, very far from dead.  I said a few words about Leon and paid tribute to his contribution to my development, the formation of Rebel Rock Radio and the amount of effort he put into pumping SA music.  He was one of a kind and he will be missed.  The highlight of the show for me was playing a band called Sun Fish who were around in Cape Town in the late ' 90s early '00s and put out a cracker of a track called 'Dawn of Clay'.  Other SA music came from Jasper Dan and Van Coke Kartel.  I let Black Label Society sum it all up with a track called 'Sick of it All'. Artists featured:  Dropkick Murphys, Devil's Train, Ressurection Kings, ACDC, Drowning Pool, The Temperance Movement, Powderfinger, Hell Yeah, Texas Hippie Coalition, Pantera, Sinner, The Dead Daisies, The Four Horsemen, Five Finger Death Punch, Motörhead, Black Label Society, Buckcherry, Blue Cheer, Jethro Tull, Iron Maiden, KK's Priest, The Jesus and Mary Chain, The Stranglers, Sham 69, Kiss, Jasper Dan, Foreigner, Sun Fish, Van Coke Kartel, Whitesnake, Greta Van Fleet, Adam & the Metal Hawks, Equator, Slayer, Scorpions, The Rolling Stones, Gary Moore.   

Summer has arrived and these are songs to celebrate the new season. The songs are joyous, celebratory and at times reflective. The music was created in the 60's but they are still relevant today to enjoy. You're  financial contributions are welcomed in helping to keep the production going.Paypal account: sonictyme@yahoo.comAlso:Listen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053View and purchase wonderful art by Patricia Rodriguez at:patriciarodriguez (tigerbeearts.com)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)Tarot card readings by Kalinda available atThe Mythical Muse | FacebookFor your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/

We're back to our time travelling shenanigans and have warped all the way back through time to 1968 where we've been protesting the Vietnam war, appearing as extras in George Romero's Night Of The Living Dead & hanging out with The Grateful Dead in Haight Ashbury. We've also been talking about Dog bothering Jazz, Prog gigs in Yorkshire steel mills, & Dumbledore's soggy gateaux. We've each chosen our 10 favourite songs of the year and sent them over to Ian's wife Lydia, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them to Colin's wife Helen, who totalled up the points and worked out the order. Helen also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Beatles, Big Brother & The Holding Company, Blue Cheer, James Brown, The Byrds, Glen Campbell, Johnny Cash, The Chocolate Watchband, The Crazy World Of Arthur Brown, Desmond Dekker, Marvin Gaye, Richard Harris, Jimi Hendrix, The Hollies, The Impressions, Iron Butterfly, Dr. John, Hugo Montenegro & His Orchestra, Nazz, Pentangle, Pink Floyd, Otis Redding, The Rolling Stones. Simon & Garfunkel, Small Faces, Steppenwolf, The United States Of America, Gary Walker & The Rain, Scott Walker, & Muddy Waters.Find all songs in alphabetical order here - https://open.spotify.com/playlist/1yZltcxPwAOGsfjtT9YhqX?si=-acWNA7oRROood8CCaBn4w&utm_source=copy-link The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Lydia ClarkeRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_networkYou can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.comSupport the We Made This podcast network on Patreon: www.patreon.com/wemadethis

We're back to our time travelling shenanigans and have warped all the way back through time to 1968 where we've been protesting the Vietnam war, appearing as extras in George Romero's Night Of The Living Dead & hanging out with The Grateful Dead in Haight Ashbury. We've also been talking about Dog bothering Jazz, Prog gigs in Yorkshire steel mills, & Dumbledore's soggy gateaux. We've each chosen our 10 favourite songs of the year and sent them over to Ian's wife Lydia, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them to Colin's wife Helen, who totalled up the points and worked out the order. Helen also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine. Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Beatles, Big Brother & The Holding Company, Blue Cheer, James Brown, The Byrds, Glen Campbell, Johnny Cash, The Chocolate Watchband, The Crazy World Of Arthur Brown, Desmond Dekker, Marvin Gaye, Richard Harris, Jimi Hendrix, The Hollies, The Impressions, Iron Butterfly, Dr. John, Hugo Montenegro & His Orchestra, Nazz, Pentangle, Pink Floyd, Otis Redding, The Rolling Stones. Simon & Garfunkel, Small Faces, Steppenwolf, The United States Of America, Gary Walker & The Rain, Scott Walker, & Muddy Waters. Find all songs in alphabetical order here - https://open.spotify.com/playlist/1yZltcxPwAOGsfjtT9YhqX?si=-acWNA7oRROood8CCaBn4w&utm_source=copy-link The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows - 1st place - 20 points 2nd place - 18 points 3rd place – 16 points 4th place – 14 points 5th place – 12 points 6th place – 9 points 7th place – 7 points 8th place – 5 points 9th place – 3 points 10th place -1 point Hosts - Ian Clarke, Colin Jackson-Brown & Tracey B Guest starring Helen Jackson-Brown. Playlist compiling/distributing – Lydia Clarke Recorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig Podcasts Thanks to Peter Latimer for help with the scoring system. Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_network You can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.com Support the We Made This podcast network on Patreon: www.patreon.com/wemadethis

A very rare interview with Dickie Peterson of Blue Cheer and unidentified sounds and noise some would call BENT Music and.

THE DOOMED & STONED SHOW ~Season 7, Episode 7~ This week, we're fortunate enough to converse with one of the world's finest psychedelic guitarists, Isaiah Mitchell of Earthless and Golden Void, who has also been tapped to join The Black Crowes on their forthcoming summer tour, as well. Billy Goate (Doomed & Stoned) and John Gist (Vegas Rock Revolution) chat it up with Isaiah about his beginnings as a musician, including early musical interests and influences, the origin of Earthless (yes, the band's name, too), anecdotes from their first and second appearances at Roadburn Festival, and Isaiah's obsession with early blues -- including a live demo of his latest acquisition: a 1930's acoustic blues guitar. Along the way, we've lined up some fantastic -- and surprising -- musical selections that we think you'll really dig!

We listen in on the bands who played louder and harder than standard pop bands. These were the early instigators of what would be termed as Hard Rock or "Heavy Metal". These bands played with more power and volume to punctuate their impact on audiences that were ready for something more exciting and more 'Street level' than the softer sounds of pop music being heard on A.M. radio. These were the first rumblings of heavy metal thunder.Also:Listen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/You may also enjoy Becky Ebenkamp's "Bubblegum & Other Delights" show. Join the fun at her WFMU New York page link and access the media player at:https://www.wfmu.org/playlists/OD?fbclid=IwAR0Efrmj-ts-uSiGq5qK7EETHFTXdtsiaXTYq-ng-7QDUkJxC-X0QfHB-EII'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/

The post Soundography #110: Blue Cheer appeared first on Soundography | A Crash Course in Music, One Band at a Time!.

In 1970 brengt de Britse groep Black Sabbath twee albums uit, met onder meer de hit ‘Paranoid’ waarop ze de heavy metal uitvinden. Niet dat de mannen dat zelf zo noemden destijds. Leo Blokhuis vertelt het verhaal hiernaartoe. Van wegbereiders als The Kinks (de harde gitaarrif van ‘You Really Got Me’) via Cream, Blue Cheer en Jimi Hendrix naar gitarist Tony Iommi van Black Sabbath en het ongeluk waarbij hij de topjes van twee vingers kwijtraakt. Door met zijn gitaar en versterker te experimenteren om toch te kunnen blijven spelen, komt hij met het grommende gitaargeluid dat het (heavy) metal geluid voorgoed zal veranderen.

1 Stairway to Heaven Led Zeppelin 2 Respect Aretha Franklin 3 (I Can't Get No) Satisfaction The Rolling Stones 4 Like a Rolling Stone Bob Dylan 5 Born to Run Bruce Springsteen 6 Hotel California Eagles 7 Light My Fire The Doors 8 Good Vibrations The Beach Boys 9 Hey Jude The Beatles 10 Imagine John Lennon 11 Louie Louie The Kingsmen 12 Yesterday The Beatles 13 My Generation The Who 14 What's Going On Marvin Gaye 15 Johnny B. Goode Chuck Berry 16 Layla Derek and the Dominos 17 Won't Get Fooled Again The Who 18 Jailhouse Rock Elvis Presley 19 American Pie Don McLean 20 A Day in the Life The Beatles 21 November Rain Guns N Roses 22 Superstition Stevie Wonder 23 I Want to Hold Your Hand The Beatles 24 Brown Sugar The Rolling Stones 25 Purple Haze The Jimi Hendrix Experience 26 Sympathy for the Devil The Rolling Stones 27 Bohemian Rhapsody Queen 28 You Really Got Me The Kinks 29 Oh, Pretty Woman Roy Orbison 30 Bridge over Troubled Water Simon and Garfunkel 31 Hound Dog Elvis Presley 32 Let It Be The Beatles 33 (Sittin' On) The Dock of the Bay Otis Redding 34 All Along the Watchtower Jimi Hendrix Experience 35 Walk This Way Aerosmith 36 My Girl The Temptations 37 Rock Around the Clock Bill Haley and His Comets 38 I Heard I Through The Grapevine Marvin Gaye 39 Proud Mary Creedence Clearwater Revival 40 Born to Be Wild Steppenwolf 41 Smells Like Teen Spirit Nirvana 42 Every breath you take The Police 43 What'd I say Ray Charles 44 Free Bird Lynyrd Skynyrd 45 That'll Be the Day Buddy Holly 46 Whole Lotta Love Led Zeppelin 47 Dream On Aerosmith 48 California Dreamin' The Mamas & the Papas 49 Brown Eyed Girl Van Morrison 50 Wild Things The Troggs 51 Suite: Judy Blue Eyes Crosby, Stills, Nash & Young 52 Beat It Michael Jackson 53 Great Balls of Fire! Jerry Lee Lewis 54 Stayin' Alive The Bee Gees 55 For What It's Worth Buffalo Springfield 56 Blowin' in the Wind Bob Dylan 57 Twist and Shout The Beatles 58 Piano Man Billy Joel 59 She Loves You The Beatles 60 Space Oddity David Bowie 61 Strawberry Fields Forever The Beatles 62 Kashmir Led Zeppelin 63 Crazy Patsy Cline 64 London Calling The Clash 65 Jumpin' Jack Flash The Rolling Stones 66 Rock and Roll Led Zeppelin 67 Let's Stay Together Al Green 68 All Shook Up Elvis Presley 69 Maggie May Rod Stewart 70 Your Song Elton John 71 Heartbreak Hotel Elvis Presley 72 God Only Knows The Beach Boys 73 The Twist Chubby Checker 74 Good Golly, Miss Molly Little Richard 75 Sunshine of Your Love Cream 76 California Girls The Beach Boys 77 Summertime Blues Eddie Cochran 78 Blue Suede Shoes Carl Perkins 79 A Hard Day's Night The Beatles 80 Fire and Rain James Taylor 81 Gloria Them 82 Sexual Healing Marvin Gaye 83 Start Me Up The Rolling Stones 84 More Than a Feeling Boston 85 Roxanne The Police 86 We Are the Champions Queen 87 Tangled Up in Blue Bob Dylan 88 Somebody to Love Jefferson Airplane 89 Stand by Me Ben E. King 90 Whole Lotta Shakin' Going On Jerry Lee Lewis 91 You Shook Me All Night Long AC/DC 92 When Doves Cry Prince 93 In The Midnight Hour Wilson Pickett 94 Gimme Some Lovin' Spencer Davis Group 95 Jump Van Halen 96 Thunder Road Bruce Springsteen 97 No Woman, No Cry Bob Marley & The Wailers 98 La bamba Ritchie Valens 99 We've Only Just Begun The Carpenters 100 Papa Was a Rollin' Stone The Temptations The Beatles. David Bowie. Guns and Roses. The Rolling Stones. Eric Clapton. The Who. Bad Company. Boston. Queen. U2. George Harrison. Genesis. Cream. Bon Jovi. The Police. Bruce Springsteen. Electric Light Orchestra. Whitesnake. Deep Purple. Pink Floyd. Rush. The Moody Blues. Yes. Creedence Clearwater Revival. The Doors. John Lennon. Neil Young. Tom Petty. Jon Bon Jovi. Geddy Lee. Meat Loaf. Steve Miller Band. Paul McCartney. Jethro Tull Aerosmith. The Cure Kansas. The Jimi Hendrix Experience. Fleetwood Mac. Faces. The Kinks. Janis Joplin. Jeff Beck. Billy Joel. Elton John. Led Zeppelin. Eagles. Rod Stewart. Heart. The Cure. ZZ Top. Lynyrd Skynyrd Free. Mountain. Sweet. Steppenwolf. Foghat. The Yardbirds. The Animals. Iron Butterfly. The Byrds. The Clash. AC/DC. Nirvana. The Beach Boys. Poison. Dire Straits Bob Dylan. Grateful Dead. Derek and the Dominos. Thin Lizzy. The Allman Brothers Band. Cinderella. Pearl Jam. Buffalo Springfield. Guns N' Roses. Humble Pie. Blue Cheer. Nazareth. Traffic. Foreigner. The Band. Grand Funk Railroad. The Zombies. The Skyliners.

Hoy os dejamos la segunda parte del especial dedicado a las grandes versiones de la Historia del Rock en La Gran Travesía, y como adelanto del 9º maratón de 48 horas en Radio Free Rock, que llegará el 6 y 7 de junio. Hoy podéis escuchar versiones de temas de Black Sabbath, Van Morrison, The Doors, Creedence Clearwater Revival, Led Zeppelin, Oasis y muchos más.

Interview with Carl Canedy Original Air Date = September 13, 2011 https://wfmu.org/playlists/shows/41890 http://www.therods.com https://canedyband.com http://www.wfmu.org/playlists/shows/93123

Interview with Carl Canedy Original Air Date = September 13, 2011 https://wfmu.org/playlists/shows/41890 http://www.therods.com https://canedyband.com https://www.wfmu.org/playlists/shows/93123

I think we're all kinda wondering this, but if you look closely...I think it's apparent. Just a short one this week. I think you'll dig it though. Here's those pics of that "Blue Cheer" record I'm talking about. Record Cover and vinyl. The poster. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thedadsnarkpodcast/message

Nuevo capítulo desde los confines del aislamiento social que, por suerte, se puede romper por medio de la tecnología. En esta entrega hablamos de: - Próximo documental sobre el ingeniero de sonido Eddie Kramer. - Nueva película de Dune, dirigida por Dennis Villenueve. - Tamagotchis de Evangelion (?). - Bloque Más Allá del Spandex, analizando El Héroe de David Rubín. Los temas que sonaron son: - Coming For You, Twelve Foot Ninja. - Su Ciervo, Babasónicos. - House Burning Down, Jimi Hendrix. - Just a Little Bit, Blue Cheer. - Dune, Puta Volcano. - Desierto, Cienfuegos. - Héroe de Leyenda, Héroes del Silencio. - Dos Héroes, El Siempreterno. - Milonga del Mar, Toch

Listas de Record Store Day reveladas, nueva música de Ozzy Osbourne y el álbum de 1001 Álbumes Que Escuchar Antes de Morir: Blue Cheer - Vincebus Eruptum Twitter: @JulianMVF @BeeVinylPodcast Canción Intro: The Dandy Warhols - Bohemian Like You Canción Outro: Ozzy Osbourne - It's a Raid ¡Escríbenos y recomiéndanos qué álbum deberíamos escuchar o qué temas para conversar! Correo electrónico: info@discodevinyl.com Ya tenemos Patreon! https://www.patreon.com/BeeVinylPodcast cualquier apoyo cuenta :)

Megaforce Records. The Zazulas. Anyone who knows their thrash knows who Megaforce Records and Jonny and Marsha Z are and how critically important they are to the birth of thrash metal.JOIN US as we discuss the lore of Megaforce Records and some of the most important thrash bands and albums released on the Megaforce roster that makes it THE most important record label in all of thrash metal.Visit www.metalnerdery.com/podcast for more on this episode Consider supporting us and more importantly, METAL with Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on the iTunes/Apple Podcasts - Spotify or your favorite Podcast appFollow us on the Socials:Facebook - Instagram - Twitter (00:00): #longintro/the spirit of Lee Ving asks a question/#chafecore(02:18): Metal Nerdery remembers (?) Barry Manilow (!?!?) in his later years/WHAT’S THAT NOISE!?/Method of Destruction –  M.O.D. (The Hate Tank)(03:50): Megaforce Records and the Thrash Movement/#enjoythetease(06:36): 1982: John and Marsha Zazula and Metallica/Megaforce still putting out incredible thrash(11:44): early acts: EXCITER! /(#makeitbigger) Raven, Mercyful Fate (and a tangentional round about)/Metallica Whiplash EP (and a Metal Nerdery Salute)/Camelot or Record Bar?(15:42): Raven: the next big thing?/#schnick(19:20): Mercyful Fate (Melissa): the story of the theft of “Melissa”/America’s answer to NWOBHM/The answer is (Dick Dastardly and) MUTTLEY(22:40): The band that is Black Sabbath’s fault/#metalnerderymancloth/Manowar and furboots(25:00): Anthrax (Soldiers of Metal/Howling Furies) Neil Turbin’s “metal” armwear(27:11): Blue Cheer/(#birththroesofmetal/(and finally, a moment of true “backshadowing”)/ Overkill (Feel the Fire) “Hammerhead” /#thezazulasareablessing(32:00): Stormtroopers of Death (S.O.D.) – Speak English or Die and the “Fun” factor of Metal (Pi Alpha Nu…MOSH!!!)/who’s McMahan? (And is he any relation to Bart?)(35:35): Testament “The Legacy” (www.metalnerdery.com/podcast): check out MN episode #022 /#theageofdiscovery(39:00): Frehley’s Comet (Ace Frehley and a “non-compete” clause!?)/Eddie Trunk’s involvement with Ace and Johnny Z/”Rock Soldiers”/#acesfishfaces(45:10): Method of Destruction – M.O.D. (Bushwhackateas, The Ballad of Dio (Look out!), The Hate Tank)(48:14): Kings X (also a power trio…blessed by the power of NOT Satan)/Dogman (Metal Nerdery recommends this album as a candidate for #cantbeloudenough)(51:38): Vio-Lence “Oppressing the Masses” (WREKage Benefit)/Subterfuge(54:21): Warren Haynes (The Allman Brothers)/The label vs the style/Fozzy (shout out to Rich Ward- ATL!)/cover albums should contain deeper cuts/Stuck Mojo’s Gwinnett Place Mall In-store appearance (#LOUDASFUCK)(58:52): Clutch “Live at the Googolplex” (Brazenhead, Pure Rock Fury)/#brazenbeard(1:02:15): Ministry “Rio Grande Blood” (Assclown)/Living Colour (#asshell)/Hank III – double album; ½ heavy and ½ country. (#softintro) “It’s about to get loud, fast and heavy…”(1:06:55): Johnny Winter and the spirit of Megaforce Records/Marsha Z just wants to have metal/the beautiful bizarreness of Bjork (Iceland…GOODNIGHT!)/Continue to spread the wordery about Metal Nerdery! 

ARCHIVE EPISODE: March 10, 2009The Ye Olde Martin episode! Skull Sessions host Bob Nalbandian is joined by author Martin Popoff, John Strednansky and David Tedds on this classic episode regarding Martin’s new book series entitled Ye Olde Metal. The four discuss many of the legendary, seminal, and underground cult-classic hard rock and metal albums released throughout the decade of 1968 through 1978. Among the artists discussed; Blue Cheer, MC5, Bloodrock, Dust, Armageddon, Max Webster, Montrose, Robin Trower, Nazareth, Angel, Rex, BTO, Ted Nugent, New York Dolls, Deep Purple, The Dictators, Ursa Major, Ram Jam, Teaze, Legs Diamond, and many others. A truly informative yet entertaining episode for the TRUE hard rock music fan!

The very first episode that begins the countdown of the 500 greatest songs to be released in the year 1969. It's tracks 500 to 491 in this episode with artists including Alessandro Alessandroni, The Nice, Blue Cheer, Harpers Bizarre and The Monkees among others.

This week, we look at Canada’s finest musical export and leaders of the prog rock movement, Rush! If you liked this episode, please subscribe, leave a comment, and share with your friends! Also, click on this link to listen to this week’s songs! https://open.spotify.com/user/lucaschrisman/playlist/1bhH8fpP24BOrPiEC3BBL7?si=nq7CV5NKRju-IKo-m5w7qA This week’s songs are: Tom Sawyer, Freewill, Limelight, Fly By Night, YYZ, Working Man. The bonus song is Summertime Blues by Blue Cheer. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lucas-chrisman5/support

We take a trip into the Psychedelic music revolution of the late 1960's and ask "What exactly IS Psychedelic Music?. Featuring Jimi Hendrix, The Amway Dukes, 13th Floor Elevators, Blue Cheer, Sir Lord Baltimore, The Substantial Evidence, Strawberry Alarm Clock and The Castaways.

THE DOOMED & STONED SHOW ~Season 5, Episode 53~ The roots of heavy metal go back further than Black Sabbath's first four albums. In fact, the year that Black Sabbath was founded, there was a flurry of evolution in the heavy underground, beginning with a band called Blue Cheer. Join Billy Goate as he takes you to 1968 to meet some of the movers and shakers of that era, from familiar names like Steppenwolf, Cream, and Deep Purple, to all but forgotten gems from Fever Tree, Gun, and Giant Crab. PLAYLIST: INTRO (00:00) 1. Blue Cheer - "Summertime Blues" (00:25) HOST SEGMENT I (04:12) 2. Blue Cheer - "Out Of Focus" (05:41) 3. Iron Butterfly - "You Can't Win" (09:39) 4. Steppenwolf - "The Pusher" (12:18) 5. Gun - "Yellow Cab Man" (18:11) HOST SEGMENT II (22:28) 6. Fever Tree - "Ninety-Nine And One Half" (24:29) 7. The Amboy Dukes - "Journey to the Center of the Mind" (27:17) 8. The Crazy World of Arthur Brown - "Fire" (30:50) 9. Vanilla Fudge - "Faceless People" (33:42) 10. The Troll - "Werewolf And Witchbreath" (39:47) HOST SEGMENT III (45:05) 11. Giant Crab - "Hotline Conversation" (47:47) 12. The Doors - "Five To One" (50:46) 13. The Sundowners - "Blue-Green Eyes" (55:13) 14. Deep Purple - "Mandrake Root" (58:14) HOST SEGMENT IV (1:04:23) 15. The Jeff Beck Group - "Let Me Love You" (1:06:38) 16. Cream - "Crossroads" (1:11:21) 17. The Gods - "Misleading Colours" (1:15:40) 18. The Jimi Hendrix Experience - "Long Hot Summer Night" (1:19:20) HOST SEGMENT V (1:22:50) 19. The Moving Sidewalks - "Pluto - Sept. 31st" (1:25:17) 20. Jethro Tull - "Cat's Squirrel" (1:30:30) 21. Pretty Things - "She Says Good Morning" (1:36:14) HOST SEGMENT VI (1:39:33) 22. The Savage Rose - "A Trial In Our Native Town" (1:41:42) OUTRO (1:48:53) Ways To Listen: ▶️Spotify bit.ly/DoomedandStonedSpotify ▶️Google Play bit.ly/DoomedStonedGooglePlay ▶️Apple bit.ly/DoomedStonedApple ▶️Soundcloud @doomedandstoned ▶️Mixcloud mixcloud.com/doomedandstonedofficial ▶️Stitcher https://stitcher.com/podcast/doomed-stoned Reminder that you can show your love for the broadcast by becoming patron! Billy Goate prepares a mix of new music to keep you abreast of the latest releases. Sign up at patreon.com/doomedandstoned. Thank you for your ongoing support!

Sometimes you just have to wonder why some bands don't make it. Take the Hollywood Stars. Brought together by famous impresario Kim Fowley, the guys were meant to be a West Coast answer to the New York Dolls. After some stops and starts, the band finally released their debut album in 1977, but it didn't show what the band could do, it under-performed, and the band broke up ending the potential for greatness. Guitarist Ruben De Fuentes enjoyed the LA music scene of the period and went on to play with 80s versions of classic psych rock bands like Steppenwolf and Blue Cheer. Thankfully, as vinyl junkies began discovering the band in later years, the Hollywood Stars are back in business! In 2013 their great lost album from 1974, Shine Like a Radio, was finally released (it features the original version of "King of the Nighttime World" made famous by Kiss) and earlier this year another collection of hidden gems, SOUND CITY (named for where it was recorded), was released and it's excellent. Ruben is an example of a guy that has devoted his life to rock and roll. Enjoy! 

Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. -AllMusic Review by Steve Huey-