Podcast appearances and mentions of bob lind

One FM presenter Josh Revens and Steve Dowers present 'Whatever Happened To?' This week's topic is singer Bob Lind. This program originally aired on Monday the 14th of April, 2025. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

Welcome to Light On Light Through, Episode 406, and my in-depth interview with Rolling Stone writer David Browne about his masterful book, Talkin' Greenwich Village. We talk at length about Dave Van Ronk, Joni Mitchell, Phil Ochs, Bob Dylan, The Blues Project, Bob Lind, and a little less about many others, including Hegel and his spirit of an age. Relevant links: Get a copy of Talkin' Greenwich Village My review of Talkin' Greenwich Village Catch David Browne at Big Red Books in Nyack, NY, March 6 Catch me at Big Red Books, Nyack, NY, February 23, doing a dramatic reading from It's Real Life: An Alternate History of The Beatles, with Anthony Marinelli and Amanda Greer, real people who appear as characters in the novel, and Frank LoBuono and Denise Reed.

Hey Guys! Happy Halloween! Sorry. I kinda dropped the ball this year on a Halloween themed song, but there's always next year. Anyways, I wanted to come on here one more time for the final free episode of this month for my podcast. I will likely put out four more free episodes this year & that'll be it. but do expect two more interview episodes for the premium version of my podcast this year. one next month and another after that in December. Anyways, I wanted to give you guys a second part to the last episode I released on the 14th. this episode will give you a lot of insight the folk music scenes back in the 60's. here's the link to the last song I talked about just in case you wanted to listen to it: https://www.youtube.com/watch?v=sukxmZcDGlU Don't forget to also follow me & reach out to me on Instagram & Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies please do also check out the premium subscription version of my podcast. I really hope you'll sign for this as you definitely don't want to miss out on all of these great interview episodes that I have been putting out lately. here's the link to it right here: https://themillennialthrowbackmachine.supercast.com also definitely check out the Spotify and Youtube playlists for this podcast. this is where you'll be able to hear all of the songs that I talk about on this podcast. if you have any suggestions for songs I should talk about next on my podcast that I haven't yet, definitely email me at samltwilli@icloud.com: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=jQhJtn6eRdKVfkPBfJPk6Q https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14H UYj7Nf don't forget to also please donate to the crowdfunding campaign for my next EP. every donation to this will help me get back to the studio to record some new original music for you guys. here's the link to where you can find that right here: https://gofund.me/dd6b6f8f also please do check out the official Redbubble Merch store for the premium subscription version of my podcast. this is another way you can support my podcast as well as signing up for the premium subscription version of my show as well (where you will hear all of my new interview episodes as well). here's the link to that right here. definitely let me know what you think of this new logo as well: https://www.redbubble.com/i/t-shirt/Fly-On-The-Wall-Stories-by-60sSam95/158056341.WFLAH?ref=explore- for-you-recently-viewed Please also stream my last EP as well. I could really use your help with getting more streams guys. it's frustrating trying to get streams when you don't have a strong fan base & your songs aren't getting added to any playlists. please do listen to it right here: https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-things If you found out some VERY cool information about the last song & artist that I talked about on my podcast & you have never heard of Bob Lind, please email me at samltwilli@icloud.com, you can also follow me on Instagram & Tik Tok @iheartoldies. thank you guys for your continued listening for this podcast, even though I don't put out as many episodes as I used to. I love doing this show for that reason alone, and I'll keep doing it for as long as I can because you guys still listen to an episode whenever I put one out. thanks a lot guys for your continued listening, and I'll be back next month with two more, but this time, I'll be 29 as my bday is in two days. thanks guys. I'll see you later on next month.

Hey Guys! so as promised, I am back with another free episode for this podcast. I hope you guys are doing well and are alright with only two free episodes a month. between going to events on weekends and school classes every day and my living situation where I"m away from recording equipment two days a week and four nights a week, I've only been able to record & release two episodes a month. But hey, some people that started a podcast even just a few years ago have had to stop doing theirs for a variety of reasons, so I'm definitely to still be doing mine. but anyways, so even though I did LA back in August, I thought it would be a good idea to do it again this time cover a different style of music that came out of LA in the 60's, and that was Folk Music. this is such a great Folk Pop song from the 60's and this week, I talk about what makes this song so great both musically and lyrically. here's the link to the song that I discussed this week: https://www.youtube.com/watch?v=sukxmZcDGlU don't forget to also follow me & reach out to me on Instagram & Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies also please consider donating to the crowdfunding campaign for my third EP. I really want to get new music out to you guys & now, you can actually hear snippets of my new songs that I"m currently raising money for at the moment with my next EP on my social media pages now. so if you head over to my Tik Tok or IG pages, you'll hear what I have been working on with these new songs so if you like what you hear, please donate to this crowdfunding Campaign right here: https://www.gofundme.com/f/the-past-the-present-my- imagination-ep also please sign up fo the premium subscription version of my podcast, I REALLY want you guys to hear my new interview episodes that I'm doing & these are really cool so please click this link right here & subscribe so that way you don't miss out on these interview episodes: https://themillennialthrowbackmachine.supercast.com don't forget to also listen to these two playlists for my podcast. I have one for Spotify & I have one for Youtube. this is how you can hear the songs that I talk about on my podcast. here's the link to that right here: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=6c55ac8dd8df4e32 https://www.youtube.com/watch? v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf also do check out the official Redbubble Merch store for this podcast. here you'll be able to find this super cool new logo that is specific to the premium subscription version of my podcast. hope you enjoy it. please click the link to it right here: https://www.redbubble.com/i/t-shirt/Fly-On-The-Wall-Stories-by-60sSam95/158056341.WFLAH?ref=explore-for- you-recently-viewed also please do check out the last EP I put out as well. I really like these songs & you guys would be helping me out tremendously by streaming these songs. I would much rather have you guys stream these songs organically & not pay for a play listing service & cheat the system: https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-things if you really liked my analysis on this week's song & artist & you have never heard of him before & your a millennial/gen Z and your around my age, and your anxious to hear more of the history behind this song, than definitely email me at samltwilli@icloud.com. you can also follow me on Instagram & Tik Tok @iheartoldies. thank you guys for being patient with me as I am not releasing as many of these free podcast episodes as I used to, but I am releasing as many as I can with the little free time that I do have in my week to record & release new episodes. hope you guys enjoyed this one, I"ll be back once more this month with another new episode then of course, two more next month, than two more the following month. I'll talk to you guys again next month.

This afternoon's program features tuneage from The Blue Dolphins, Oliver Nelson, Sting, Van Morrison, Christopher Cross, Chuck Mangione, Style Council, Bob Lind, James Lee Stanley, James Lee Stanley w John Batdorf, Beatles, The Cyrkle, Judy Collins,  Jefferson Airplane, Simon & Garfunkel,  Moby Grape, Love, Fleetwood Mac, Savoy Brown, Steely Dan, Chicago Transit Authority, Gypsy and Blood Sweat & Tears.

"Ain't it foggy outside, all the planes have been groundedAin't the fire inside? Let's all go stand around itFunny, I've been there, and you've been hereAnd we ain't had no time to drink that beer"Please join me for that Beer or other beverage as we enjoy our 2 hour musical journey on the Red Eye Edition of Whole 'Nuther Thing. Joining us on this weeks journey are Dusty Springfield, Hall & Oates, Herbie Mann, Loggins & Messina, Beatles, Bob Dylan, Lynyrd Skynyrd, Creedence Clearwater Revival, Lovin' Spoonful, Traffic, Jethro Tull, Blues Project, Bob Lind, Buffalo Springfield, Glen Campbell, Donovan, Bill Evans w Jim Hall, Crosby Stills & Nash, Badfinger, Led Zeppelin, Carole King, Eric Clapton, Joni Mitchell and America...

The Coral's James Skelly helps Andrew Male and Chris Catchpole “explore the spaces between the sun and the shadows”. To be explored, specifically: Cillian Murphy and Bela Lugosi; Phil Spector and Celine Dion; and elusive butterfly and self-proclaimed “all-out pain” Bob Lind. Oh, and new ones by Sparklehorse and our old friend Alabaster DePlume, too!TRACKLIST 1. That's Where She Belongs, by The Coral, written by James Skelly and released on Run On Records2. Elusive Butterfly, by Bob Lind, written by Bob Lind, produced by Jack Nitzsche and released on World pacific Records in 19663. Did You Know, by Alabaster De Plume, featuring Momoko Gill and MettaShiba and composed in the act of performing by Alabaster DePlume, Falle Nioke, Rozi Plain, Sarathy Korwar, Tom Skinner, Kenichi Iwasa, James Howard, Tom Herbert, Natalie Pela, Rosa Slade, Elly Condron, Luisa Gerstein, Matt Webb, Michael Chestnutt, Ursula Russell, Conrad Singh, Hannah Miller, Donna Thompson, Matthew Bourne, Momoko Gill and Ruth Goller, from the album, Come With Fierce Grace, released on International Anthem4. Evening Star Supercharger, by Sparklehorse, written by Mark Linkous and released on Anti Records5. Listening to the Higsons, by Sparklehorse, written by Mark Linkous and released on Anti Records

"Sailors fighting in the dance hall.Oh man!Look at those cavemen go, It's the freakiest showTake a look at the lawman, Beating up the wrong guyOh man!Wonder if he'll ever know, he's in the best-selling showIs there life on Mars?"After that Super Blue Moon last night I got to thinking about it...Please join me for our weekly Red Eye Journey for the answer.Joining us are The Blue Dolphins, Jimi Hendrix Experience, Rickie Lee Jones, The Byrds, Everly Brothers, Dire Straits, Beatles, Bob Lind, Yes, Cream, Crosby Stills & Nash, Little Feat, Linda Ronstadt, Donovan, Spirit, Simon & Garfunkel, Barry McGuire, Dionne Warwick, Rolling Stones, Mamas & Papas, Jimmy Buffett, Talking Heads, Beach Boys, Doors, Sergio Mendes & Brasil '66,Glen Campbell, Bob Dylan and David Bowie.

Hey Boys & Girls, thanks for all the well wishes it's made the healing process easier and of course music is itself a terrific healer..."Got a beat-up glove, a home-made batAnd a brand new pair of shoesYou know I think it's time to give this game a rideJust to hit the ball, and touch 'em allA moment in the sunIt's a-gone and you can tell that one good-byeOh, put me in coach, I'm ready to play todayPut me in coach, I'm ready to play todayLook at me (yeah), I can be centerfield"Yes, despite the unspringlike weather, today was Opening Day of the 2023 MLB season. Please join me on our virtual Field Of Dreams at Midnight for my annual tribute to our National Pastime. Joining us are The Blue Dolphins, Glen Campbell, Squeeze, Dobie Gray, Peter  Frampton, Lou Reed, Tears For Fears, Pink Floyd, Frank Sinatra,  Nilsson, The Left Banke, The Cars, Beatles, Doors, Patti Smith, George Harrison, Alan Parsons Project, Dion, Mamas & Papas, Ben  Sidran, Steely Dan , Bob Lind, Dave Frishberg, It's A Beautiful Day, Mahavishnu Orchestra and John Fogerty.

"Terry meets Julie, Waterloo Station, Every Friday nightBut I am so lazy, don't want to wander, I stay at home at nightBut I don't feel afraid, As long as I gaze on Waterloo sunsetI am in paradise..."Please join me in our Musical Paradise this afternoon before the Sun sets on the Sunday Edition of Whole 'Nuther Thing on 885 The SoCal Sound. Joining us are David Bowie, Mark Knopfler, The Doors, Bert Sommer, Procol Harum, Mountain, Emerson Lake & Palmer, Grateful Dead, Paul & Linda McCartney, Styx, The Beatles, Donovan,  The Rolling Stones, The Who, Traffic, Buffalo Springfield, Bob Lind, Grand Funk Railroad and Peter Gabriel.

Paul Lind, son of the original Western States 100 medical director, Bob Lind and father of top ten finisher, Cody Lind, discusses the history of Western States and gives great advice as a coach and athlete. --- Send in a voice message: https://anchor.fm/definingendurance/message

Tonight's episode of Pudding On The Wrist include tasty treats (of the sonic variety) from Nancy Sinatra, The Magick Heads, Opal, St. Thomas, The Munsters, Bob Lind, and many more.

Today's program features tuneage from LA Based Duo, The Blue Dolphins, Genesis, The Doors, Donovan, Emerson Lake & Palmer, Pat Metheny, Jayhawks, George Harrison, Tears For Fears, The Bangles, Badfinger, Paul Simon, Supertramp, Beach Boys, Mamas & Papas, Tom Petty, Richie Havens, Crosby Stills & Nash, Bob Lind, Oasis, Procol Harum, King Crimson, Jake Holmes and Seals & Crofts.

Our pets become senior citizens, too!  Amazed at the meds we have to give them both! Lily, for a thyroid issue and allergies.  Chaz has an enlarged heart, so meds for that issue.  Unlike people, they just go on being happy and having fun with no complaints!  I want to be more like them!  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes!  Follow the show on TWITTER JimPrell@TMusicAuthority!  Please, are you sharing the show? Please, are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  April 26, 2022, Tuesday, verse two…The Vague- Black Heart [Fussy]Jekyll Wood - Just A Little More [Smokescreen - EP]@Tina and the Total Babes - 01 She's So Tuff [She's So Tuff] (Rum Bar Records)@James Booth & The Return - 11 Lady May [Postcards From The New Frontier]Michael Simmons - 11 Galveston [Singing In My Heart] (Big Stir Records)The Swiss Family Orbison - 12 Someone DifferentAmoeba Teen - 04 A Good Reason Why [Amoeba Teen] (Big Stir Records)Les Robots - I Need You [12 Favorites From Planet Earth] (Bickerton Records)The Kryng - Are You My Girl [V] (Bickerton Records)Kai Danzberg - 01 Rock Show [Rock Show]@Jane Vs World - 30 - He's Always Beating Me At Scrabble [Marching Out Of Time] (Popboomerang Records)The Singles - 05 - Staring At You [L.O.V.E.  From The Santa Cruz Archives '82 – ‘85]Bob Lind - 05_Leave Me Alone [Something Worse Than Loneliness]Indonesian Junk - 01 C'mon And Love Me [A Life Of Crimes (singles and rarities 2009–2018)]J Prozac - 02 For The World [Won't Let Go] (@Rum Bar Records)Warmbabies - 14 - Hey Little Child [Let's Live Underground] (koolkatmusik.com)Paul Callan - 12. Another Night [Funzi]Ex Norwegian - Teen Bakery [Spook Du Jour]

Halfway between Naseby and Nashville, we venture into pure folk (mostly), inspired by the rolling autumnal hills of God's own Central Otago. Donovan, Marianne Faithfull, Bob Dylan, Dave Berry, Bob Lind and so many more flavour this hand-crocheted heartwarming mutton stew of a show. Peace and love from ZAMbO... ~ universal harmony ~ Oozing a grateful ora, massaging the creative mind.

Allow me to help you, your band, you sound, your song to be heard! If you are a creator of #melodicpop, #powerpop, #surfpop, #nostalgiapop, #retropop, #shoegazerpop, #punkpop, #jazzpop, #bubblegumpop, #sunshinepop, #dreampop, #Americanapop, #Britpop, #Indiepop, #Garagepop, #harmonyPOP…filled with harmonies, jangle guitars, driving rhythm section…I WANT TO HELP GET YOUR SOUND OUT & HEARD! Give the show a listen and see if you might be representative of what I play! Send high quality sound files to jrprell@mindspring,com, cd's, vinyl, flash drives to Jim Prell 990 Fulton Lane NE, Palm Bay, Florida 32905. Can't make you famous, but I can get you heard!  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes!  Follow the show on TWITTER JimPrell@TMusicAuthority!  Please, are you sharing the show? Please, are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  April 12, 2022, Tuesday, chapter two…TheSingles - 16 - Think It Over [L.O.V.E.  From The Santa Cruz Archives '82-‘85] (koolkatmusik.com) Bob Lind - 03_This Day Without You [Something Worse Than Loneliness]Whelligan - 10 - Rabid Hole [In The Mean Meantime] (Nine x Nine Records)Warmbabies - 11 - Girls Don't Like It [Let's Live Underground] (koolkatmusik.com)Paul Callan - 08. Hold On [Funzi]Librarians With Hickeys - 01 Until There Was You [Long Overdue] (Big Stir Records)@Flint - Painted Skin [Follow The Embers - EP]J Prozac - 11 Thirteen Days [Won't Let Go] (Rum Bar Records)The Daisycutters - 10 Hilarious [Lines And Sinkers]Rick Hromadka - Better Days [Better Days]Ex Norwegian - For Your Conveniences [Spook Du Jour]The Mike Bell Cartel - 04 - No Turning Back [The Cartel & I] (Beluga Records)Emperor Penguin - 06 - Let Me Take Your On Holiday [Sunday Carvery] (koolkatmusik.com)Deadlights - Modern World [Eleven Step Intervention]The Stillsouls - She's So Calm [Half Drunk Preacher]Jesse Norell Music - 02 Together [Aorta Borealis]Dave Cope and the Sass - 09 - Moonraker [Julee] (koolkatmusik.com)Eytan Mirsky - Don't Be Afraid [Lord, Have Mirsky]

The cost to service a car; with oil prices so high…make maintenance OUTRAGEOUS! Am I the only one that remembers when an oil change and tire rotation was somewhere around $50 bucks?  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! Follow the show on TWITTER JimPrell@TMusicAuthority!  Please, are you sharing the show? Please, are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  March 29, 2022, Tuesday, verse one…Orbis 2.0 - TMA SHOW OPEN THEMEJames Booth & The Return - 12 I Know Where You've Been [Postcards From The New Frontier]Michael Simmons - 01 Rikki Don't Lose That Number [Singing In My Heart] (Big Stir Records)Ronnie D'Addario - Love At Third Sight [Egg Yolks And Artichokes]Amoeba Teen - 07 Melody Told You [Amoeba Teen] (Big Stir Records)Les Robots - Don't Ask Me Love [12 Favorites From Planet Earth] (Bickerton Records)John Howard - 01 And Another Day [To The Left Of The Moon's Reflection] (koolkatmusik.com)Bob Lind - 10_Wrong Again [Something Worse Than Loneliness]Danny McDonald - 06 - Northern Gaze [Marching Out Of Time] (Popboomerang Records)TheSingles - 04 - Just Another Girl [L.O.V.E.  From The Santa Cruz Archives '82-‘85] (koolkatmusik.com)The Kryng - You Walked Away [V] (Bickerton Records)Rob Clarke and The Wooltones - 08 Two Lane Blacktop [Putting The "L" In Wooltones]Whelligan - 04 - Anyone Who Never Had A Heart [In The Mean Meantime] (Nine x Nine Records)Warmbabies - 03 - You Should Never Have Crossed My Way [Let's Live Underground] (koolkatmusik.com)Paul Callan - 07.How About It [Funzi]@Flint - Shadows [Follow The Embers - EP]J Prozac - 03 Regret [Won't Let Go] (Rum Bar Records)The Trend (UK) - 04 Tune Me In (Remix) [Bella Vega]The Daisycutters - 05 You Break It You Buy It [Come Sweet Bullets]Ex Norwegian - Center Mario [Spook Du Jour]Jesse Norell Music - 11 Uneven [Aorta Borealis]

What a BEAUTIFUL Florida SPRING Day!  Sunshine, breezy, LOW HUMIDITY…and 77 degrees.  All the windows open and the breeze wafts away through the curtains…they dance while I play today's “Album Tracks Aplenty!” selections!  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes!  Follow the show on TWITTER JimPrell@TMusicAuthority!  Please, are you sharing the show? Please, are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  March 22, 2022, Tuesday, act one…Orbis 2.0 - TMA SHOW OPEN THEMERonnie D'Addario - Walk Away Renee [Egg Yolks And Artichokes]Amoeba Teen - 03 New Material World [Amoeba Teen] (Big Stir Records)Les Robots - Medley - Why Do I Cry/She's Not There/Suspicion [12 Favorites From Planet Earth] (Bickerton Records)The Kryng - Waiting By The Telephone [V] (Bickerton Records)Christopher Peifer / Garageland NYC - 03 This Broken Heart [Suicide Mission]Hazey Jane (featuring Bryan Estepa) - 34 - I'm Going [Marching Out Of Time] (Popboomerang Records)The Singles - 18 - Don't Give Up [L.O.V.E.  From The Santa Cruz Archives '82-‘85] (koolkatmusik.com)Bob Lind - 06_How Can You Go [Something Worse Than Loneliness]Whelligan - 06 - Beyond The Mean Meantime [In The Mean Meantime] (Nine x Nine Records)Warmbabies - 09 - Sometimes [Let's Live Underground] (koolkatmusik.com)Paul Callan - 05. Don't Be Around [Funzi]@Flint - Colours [Follow The Embers - EP]J Prozac - 10 No Matter [Won't Let Go] (Rum Bar Records)The Daisycutters - 13 Priceless [Come Sweet Bullets]Erk Wiemer - 06_When Night Meets Day [When Night Meets Day] (koolkatmusik.com)Ex Norwegian - Paging Lisa [Spook Du Jour]@The Mike Bell Cartel - 06 - Mood Swings [The Cartel & I] (Beluga Records)Emperor Penguin - 10 - Extraordinary Years [Sunday Carvery] (koolkatmusik.com)Alice DiMicele - 07 Communication [Every Seed We Plant]

"PUT ON A STACK OF 45's"- BOB LIND- "CHERYLS GOING HOME" - CHAPTER EIGHTY- With The Splendid Bohemians - Featuring Bill Mesnik and Rich Buckland - "SOMETHING WORSE THAN LONLINESS":http://boblind.com/

"You never turned around to see the frowns on the jugglers and the clowns when they all did tricks for you, You never understood that it ain't no good, You shouldn't let other people get your kicks for you"...Don't be a Rolling Stone, don't let others pay your way, become a MEMBER not just a listener, it's easy and you'll feel terrific because you've helped keep this Oasis in a desert of Radio mediocrity alive. Please give what you're comfortable with and if you're already a member perhaps you can add to your sustaining membership. Please remember to indicate the pledge is for Whole 'Nuther Thing when checking out.Please join me at 3PM PDT, 6PM EDT and show some love. Serenading us today are Circus Maximus, Nick Drake, Dire Straits, David Bowie, Deep Purple, Eddie Money, Queen, Crosby Stills & Nash, John Prine, Chuck Berry, Genesis, Prince, Foo Fighters, Ronny Jordan, Janis Joplin, Led Zeppelin, Sarah McLachan, Bob Lind, The Beatles, Elton John, John Mellencamp, Elvis Presley and Bob Dylan.12Es Goodman, Jerry Boyd and 10 others

"On a morning from a Bogart movieIn a country where they turn back timeYou go strolling through the crowd like Peter LorreContemplating a crime"I'm no Peter Lorre but I can spin tunes like no one else, so please join me for 2 Hours of Handcrafted Tuneage on the Sunday Edition of Whole 'Nuther Thing. Today's Holiday Edition Lunch offers tasty morsels from The Comet Is Coming, Laura Nyro, Billy Joel, Miles Davis, Black Keys, Chuck Berry, Squeeze, Yes, The Beatles, Doors, Hall & Oates, Blood Sweat & Tears, Gino Vannelli, The Who, Gerry & The Pacemakers, The Rolling Stones, Hollies, Muddy Waters, The Beach Boys, Byrds, Three Dog Night, Bob Lind, Jefferson Airplane, John Lennon and Al Stewart...

Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero.  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 "A Lover's Concerto" by the Toys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory  instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love"  very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later.  "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...

"The autumn wind and the winter winds, they have come and goneAnd still the days, those lonely days, they go on and onAnd guess who sighs his lullabies through nights that never endMy fickle friend, the summer windThe summer wind, warm summer wind"...Yes, on this longest day of the year, join me for some cool sounds on the Sunday Edition of Whole 'Nuther Thing as we celebrate Summer, Dads and more...I'll be serving up tasty morsels from Larry Coryell, Melanie, Buffalo Springfield, The Kinks, Richie Havens, Chewy Marble, Laura Nyro, Cat Stevens, John Klemmer, Warren Zevon, Foo Fighters, Paul Simon, Mama's & Papas, Fleetwood Mac, Billy Stewart, Billy Joel, Stevie Ray Vaughn, Coldplay, Eric Clapton, Bob Lind, Stan Getz with Astrud Gilberto, Marc Cohn, Tom Petty & The Heartbreakers, Bob Dylan, Bert Jansch, Rufus Wainwright, Judy Collins, Aztec Two Step, Tim Hardin, Beach Boys and Frank Sinatra...

In an episode first aired on June 7, 2021: DJ Andrew Sandoval presents 20 45's by: Raintree; Jerry Fuller; Ray Chafin; The Lost; The Winkle Pickers; The Eighth Day; Thomas & Richard Frost; The Cherry Slush; Bob Lind; The Kingston Trio; The Shadows; Soulful Bowlful; Disillusion '21; The Fairytale; Richard Dawson; Wendy & Bonnie; Andy Kim; John Dunn; The Geneva Convention and Jake Holmes. In the Sunshine artist spotlight an hour of Memphis group The Gentrys' finest sides for MGM, Bell & Sun. Some of the bands best tracks - which are featured here - have never been anthologized or made it to the digital realm.

Today, we have the man who wrote songs like Elusive Butterfly and Down in Suburbia. Here he is, Bob Lind interviewed by special guest host Charles Rosenay! Plus, the usual news from Fun Ideas Productions.

Nueva entrega de lo más selecto del reproductor de música de Carlos HerreraNueva entrega de 'Radio Carlitos Deluxe', la selecta lista de música de Carlos Herrera con la que cada semana hace disfrutar a la audiencia de la Cadena COPE en las madrugadas del sábado al domingo entre la 1.00 y las 2.00 horas. En esta ocasión disfruta de clásicos como 'Vicious' de Lou Reed y 'Elusive Butterfly' de Bob Lind.

Remember the hullabaloo in the early ‘60s that came from a New York City hotspot called the Peppermint Lounge. This week we're talking with Joey Dee whose hit record, the Peppermint Twist exploded out of that steamy nightclub. After that, we'll talk with Bob Lind who created a word picture worthy of framing in the Sixties museum with his hit tune about the bright elusive butterfly of love.

Remember the hullabaloo in the early ‘60s that came from a New York City hotspot called the Peppermint Lounge. This week we're talking with Joey Dee whose hit record, the Peppermint Twist exploded out of that steamy nightclub. After that, we'll talk with Bob Lind who created a word picture worthy of framing in the Sixties museum with his hit tune about the bright elusive butterfly of love.

Alan Haber's Pure Pop Radio is the 24-hour Internet radio station playing the greatest melodic pop music from the '60s to today. Starting with the Beatles, he features everyone from Gilbert O'Sullivan to Bob Lind (remember Elusive Butterfly?). His signature interview program, Pure Pop Radio: In Conversation, presents the greatest pop music artists talking about their careers and playing their coolest tunes. And I have to let you know that last year, Alan interviewed me about my group, Harpers Bizarre and we had a ball talking about all that went on in the ‘60s.

Você já ouviu falar em arqueologia musical? Pois é, é mais uma daquelas loucuras do Café Brasil. Às vezes mergulhamos numas pesquisas históricas que tem como objetivo apenas matar a curiosidade, mas esses mergulhos são exercícios de prazer, inestimáveis. E às vezes podem dar samba, como o programa de hoje onde praticamos a tal arqueologia musical buscando as raízes de duas músicas. Na trilha sonora Solomon Linda com o Evening Birds, Pete Seeger, The Weavers, Mahotella Queens, The Tokens, The Rokets, Bob Lind, Miriam Makeba, REM, Ladysmith Black Mambazo com The Mint Juleps e Os Caçulas! Uma viagem. Apresentação de Luciano Pires. See omnystudio.com/listener for privacy information.