Podcasts about both sides now

What makes an artist great, how does an artist become great? In today's episode of I've been thinking about, I explore the idea of maturity, ageing and process.It seems to me that maturity, ageing in the Arts is actually beneficial. Unlike other professions where ageing is synonymous with decline, with cognitive or physical impairment - people in sports have an early retirement age for that reason, Or former US president Biden wasn't he forced to step down because of his cognitive decline due to his age? That doesn't seem to apply to artists. When it comes to the Arts, age and maturity actually have the opposite effect - we can keep getting better. And there are many examples of this: Irish writer Edna O'Brien lived to 93. French writer Annie Ernaux now 84, won the Nobel prize for literature at the age of 82. Classical pianists only seem to get better with age, they have all the technique of years of practice without the need for showmanship that you sometimes see in younger pianists. I think about artists like Sonia Boyce who represented Britain at the Venice Biennale in her 60s or figurative painter Claudette Johnson also in her 60s. What about American abstract painter Stanley Whitney still making beautiful work at 79 or Indian artist, Arpita Singh. Now 87, I recently went to her solo exhibition at London's Serpentine and her work took my breath away, her use of colour and composition, I felt like I was seeing an entirely new interpretation of artistic expression.I mean as long as you can pick up a paintbrush or pencil, or a camera, the work doesn't and shouldn't stop. And I'm not saying that we have to wait until we're in our 80s to produce works that's meaningful. I'm saying that our process produces the sound and the deeper the process the richer the sound. Music Refs:Ray LaMontagne, JoleneJoni Mitchell, Both Sides Now from 1969Joni Mitchell, Both Sides Now from 2000 Holding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

25 years ago this weekend, Joni Mitchell released her turning point concept album, Both Sides Now. The record saw Mitchell revisiting two of her own songs 40 years later, amid a number of American Songbook standards. For the next installment of our Silver Liner Notes album anniversary series, we reflect on this album within Joni Mitchell's career with Ann Powers, NPR music critic and author of Traveling: On the Path of Joni Mitchell.

Interview with Karen and Don Peris of Innocence Mission.   The first studio album from the innocence mission in four years, Midwinter Swimmers sounds immediately like an old friend. At the same time, it's a new kind of adventure for the beloved Pennsylvania band of high school friends Karen Peris, Don Peris, and Mike Bitts, having both an expansive, cinematic quality and the strange, lo-fi beauty of a newly discovered vintage folk/pop album, brimming with melody. Midwinter Swimmers is being released November 29 by Therese Records in North America, Bella Union in the U.K. and PVine in Japan. “It's like it was recorded at Western Electric in the 60's, and makes me think of Vashti Bunyan or Sibylle Baier, but also has these emotional bursts of orchestration and drums and harmony coming in - the sound of the innocence mission never stops getting richer”, writes one early listener and friend. Lead single and album opening song ‘This Thread Is a Green Street' is a perfect entrance into the innocence mission's sound and sensibility. Karen Peris describes it as “a sort of envisioning the landscape as a world of doorways, that might allow us to locate memory or to be nearer in some way to people we miss. And the transportive quality of scenes we might come upon in the natural world, or even in everyday objects- a sewing thread when I'm mending something could remind me of a street map. One of the things about recording it was, how to find this feeling inside the sound, and how to find the half-remembered beauty of sing-alongs of our 1970's childhoods. There's a search in recording that goes on being elusive, in a good way.” ‘This Thread...' is the first of a trio of songs on the new album (the second being the title song) about missing a loved one who is away, and of how love can transcend distance, Karen says. Piano melodies and high electric with strummed nylon string guitars make a glimmery soundtrack for ‘Midwinter Swimmers', a happy-sad song of hopefulness about seeing an absent loved one soon. It takes place during an instant when swimmers seen at a distance through tears are refracted and appear as something beautiful and moving. Something of this feeling is echoed in the recording, made with a spontaneity and a sense of trying to capture a single moment and hold it up to the light. This attentiveness to small detail typifies the way the innocence mission's songs look closely at everyday moments as miraculous worlds of their own. Karen's words stand on their own as poetry, with a particular sense of place and color, of the visual, that communicate universal experiences of change and loss, and of love, hope, and gratitude. Walking is a recurrent happening in Peris' songs, as she finds herself taking walks on most days of the year, and looking up into trees, which continue to be another feature of her lyrics. In one verse of closing song ‘A Different Day', she relates a favorite sycamore tree to an imaginary appaloosa horse that she might ride to visit a friend, underlining her hope that she could be made into a stronger, more courageous person who is without anxiety. This same hope of personal transformation is present in ‘Orange of the Westering Sun', which recalls being in California to record the innocence mission's first two albums. “This was at Joni Mitchell's house, and the air always smelled like lilies so it became Easter-like, which may have been one of the reasons that there was the feeling of being at the start of something”, Karen remembers. (In a full-circle experience, Karen, whose first favorite song at five years old was ‘Both Sides Now' was invited by Joni to sing on her album Night Ride Home, an honor she treasures.) On the opposite US coast, a favorite place visited by the Peris family called Two Lights in Cape Elizabeth is the setting of the dynamic and ambient ‘The Camera Divides the Coast of Maine'. Karen explains the song is “thinking about the nature of place in regard to time - when we think of going back, is it as if to visit an earlier time in our lives? I often think of the Ivan Lalic poem that says something like: Is this a street or years?” Here, and throughout the album, there is a palpable emotion inherent in Karen's voice, and in the distinctive combination of Don's luminous, high electric guitar lines with Karen's low (baritone and nylon string), rhythmic guitar and piano playing. Their longtime friend Mike Bitts adds a further dimension of upright and electric bass. ‘There is a companionship about Karen's voice,' Don Peris says, ‘and a realistic joy and gratitude, in the midst of life's difficulties, that she is expressing here on songs like ‘Sisters and Brothers'. I feel bolstered and comforted by them'. Innocence Mission Info theinnocencemission.com  www.facebook.com/innocence-mission-111422858887453/timeline/https://www.instagram.com/theinnocencemission/  

Marc Jordan – Both Sides Now – 7:19 Jimmy Cobb, Javon Jackson, Roy Hargrove – Eleanor – 6:06 Miles Davis – Cobra – 5:16 Wallace Roney – Why Should There Be Stars – 5:28 Freddie Hubbard – God Bless the Child – 12:53 Alphonso Johnson – Earthtales Suite – 8:50 Poogie Bell Band – Change […]

This week we spin another cut off of Marching To Mars, "Both Sides Now"!Wanna be part of the insanity? Join our Patreon!You can follow us on Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@PodcastWillRock⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Facebook at ⁠⁠And The Podcast Will Rock⁠⁠ and you can check out our website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.podcastwillrock.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Proud member of The Deep Dive Podcast Network, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.deepdivepodcastnetwork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Wanna be part of the insanity? Join our Patreon!You can follow us on Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@PodcastWillRock⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Facebook at ⁠⁠And The Podcast Will Rock⁠⁠ and you can check out our website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.podcastwillrock.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Proud member of The Deep Dive Podcast Network, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.deepdivepodcastnetwork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The penultimate episode of the Road To Joni series packs in more conversations than any episode so far. As host Carmel Holt heads east toward home and the finale of the series on Joni's 81st birthday, the throughline of “Both Sides Now” continues on with four artists whose creative path would have been very different if not for Joni Mitchell. Sylvan Esso's Amelia Meath was introduced to Joni's music at the age of 12 by her dad. They listened in the car on cassette until she knew the songs by heart. Amelia cites Joni's freedom with her voice and her ability to talk openly about the challenges of living inside the music industry as core inspiration for her own creative journey. She tells Carmel that she thinks that the celebration of Joni should go on forever. Multi-grammy award winning and nominated singer, songwriter and Tony award winning playwright and author Anäis Mitchell says that Joni is in the DNA of what she does as an artist. She talks about the impact of Hejira and the powerful example it set for her to witness a woman genius (Joni) doing it on her own terms. Anäis shares that she can relate deeply to the duality of “Both Sides Now” - how revisiting something in her 40s that was written in her 20s can mean something totally different. Next we hear from Allison Russell about how her “Once & Future Sounds” set at the reemergence of Newport in 2021 came about, and how it led her to being on stage with Joni Mitchell the following year, as well as The Gorge in 2023, and most recently, at the Hollywood Bowl. She pinpoints hearing the clarinet in “For Free” for the first time as a pivotal moment that led her to playing clarinet with Joni as part of the Joni Jam. Our final conversation in Episode 9 is with Grammy nominated Irish singer, songwriter, multi- instrumentalist Andrew Hozier Byrne, aka Hozier. He talks about how Joni's music cracks open the hearts of anyone who listens to it… and we can attest that in this episode, even stories about Joni's music will crack some hearts open. Andrew tells Carmel about a meeting with Brandi Carlile in LA that led him to Joni's living room as part of an early Joni Jam. He emotionally tells the story of how Herbie Hancock started playing “Summertime” and Joni started singing along. He says about Joni, “It's like being in the presence of something mythical.”

1. Wampum Prayer (30 November 2002 - Minneapolis, MN) 2. A Sorta Fairytale (30 November 2002 - Minneapolis, MN) 3. Take to the Sky (2 June 2007 - Paris, FR) 4. Past the Mission (5 September 1999 - Indianapolis, IN) 5. Girl (7 June 2022 - Portland, OR) 6. Strange Little Girl (27 July 2003 - Eugene, OR) 7. Cornflake Girl (5 May 1998 - San Francisco, CA) 8. Girl Disappearing (9 December 2007 - Oakland, CA) 9. Another Girl's Paradise (12 April 2003 - San Jose, CA) 10. Bells for Her (7 June 2007 - Munich, GER) 11. Rattlesnakes (2 November 2001 - Austin, TX) 12. Maybe California (12 June 2014 - Warsaw, POL) 13. Both Sides Now (27 August 2005 - Toronto, ONT) 14. Curtain Call (3 August 2009 - Chicago, IL) 15. Spark (5 July 1998 - Werchter, BEL) 16. Lady In Blue (25 April 2023 - Oslo, NOR) 17. Precious Things (20 September 2009 - Copenhagen, DEN) 18. Spring Haze (25 February 2003 - Charlotte, NC) 19. Code Red (20 April 2023 - Paris, FRA) 20. Tombigbee (7 June 2022 - Portland, OR) 21. Hotel (17 July 2023 - Red Rocks, CO) 22. Graveyard / Tear In Your Hand (19 September 1999 - Concord, CA) 23. Sweet the Sting (18 May 2005 - Melbourne, AUS) 24. Liquid Diamonds (28 November 2017 - San Diego, CA) 25. Twinkle (5 December 2001 - Glasgow, SCO)

El jazz femenino se celebra en la sexta edición del FeminaJazz. Y suenan hoy: Lara Wong con su Rosa de los Vientos, con Melón Jiménez; la pianista estadounidense Monika Herzig con Janiece Jaffé, que vendrá al FeminaJazz con el cuarto trabajo de Sheroes; la flautista Nara Pinheiro con su Tempo de Vendaval. También suenan la pianista surcoreana afincada en Valencia SongAh Chae con Manos Stratis de Chipre y Joshua Wheatley de Inglaterra, y Sandra Carrasco, que estará acompañada por el pianista José María Cortina en el Café Berlin el 25 de octubre y a la que escuchamos en el programa con Pedro Ojesto y Carmen Linares y junto a Gaizka Baena y Jorge Pardo. Zamá (Alegrías) +     Festival del Cielo      Lara Wong con Melón Jimenez y Tino di Geraldo   Rosa de los Vientos   Both Sides Now                    Monika Herzig y Janiece Jaffe          Both Sides of Joni      Âmago           Nara Pinheiro, Marcio Guelber         Tempo de Vendaval   Covenant + Promise              SongAh Chae In The Beginning       Toma ese puñal dorao Pedro Ojesto, Sandra Carrasco y Carmen Linares  La Luz del Entendimiento      Izan                Gaizka Baena, Jorge Pardo, Sandra Carrasco           Izan    Escuchar audio

We've seen fire, rain, and clouds. From both sides even! But it is time to decide the most heartbreaking acoustic song from the singer-songwriter movement, so what helps us reflect more, Joni Mitchell's "Both Sides Now" or James Taylor's "Fire and Rain"? See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this engaging episode of Backstage Sonoma, host Steve Roby had the pleasure of sitting down with the legendary Judy Collins, a distinguished singer-songwriter whose career spans over five decades. Judy begins by recounting her early influences, sharing how her father's career in radio introduced her to the Great American Songbook while her path led her to folk music. Her passion for music, which she sparked in childhood, continues to drive her today, as evidenced by her recent Grammy-nominated album "Spellbound," which features all original material inspired by a long-standing suggestion from Leonard Cohen.  As the conversation unfolds, Judy reflects on the evolution of her music over the years. She credits her broad experiences and serendipitous encounters with influential artists for much of her success. Judy vividly describes how she was first introduced to Joni Mitchell's "Both Sides Now," a song that became a significant part of her repertoire. She also touches on her podcast "Since You Asked," which allows her to explore and share stories with her audience, highlighting a memorable interview with Clive Davis about the artists who have slipped through his fingers. Judy's multidimensional creative life, which encompasses music, painting, filmmaking, and social activism, is a testament to her versatility. She reveals how these different forms of expression intertwine and enrich her artistry. Finally, Judy gives a sneak peek into her upcoming U.S. fall tour, promising fresh shows with a mix of familiar hits and new material from "Spellbound." Her candid advice to aspiring artists underscores the realities of a music career, emphasizing the need for perseverance and a love for the craft. The interview concludes with Roby expressing gratitude for Judy's immense contributions to music, leaving listeners excited for her performance at the Mystic Theater in Petaluma.

Welcome to SUPERSTARS WEEK! This week I'm rebroadcasting my interviews with five Superstars: Judy Collins, Al Kooper, David Amram, Ron Carter and Oscar Hammerstein II. Judy Collins is an iconic Renaissance Artist and Grammy Winning Singer/Songwriter with 55 albums and hit singles including Joni Mitchell's “Both Sides Now” and Stephen Sondheim's “Send In The Clowns”. She has been a dominating force in social activism, as a filmmaker, author and as a keynote speaker. And she had one of the greatest songs of the rock era written about her - “Suite: Judy Blue Eyes” by Stephen Stills and Crosby Stills and Nash. In this wonderful interview we discuss her background and successes, including her artistic formative years in the Greenwich Village folk scene of the 1960s with fellow artists Joan Baez, Dave Van Ronk, Richie Havens and Peter Paul and Mary, and she tells a few terrific stories. And we do a Double Songfest. In the first one we play and discuss several songs by other artists who she loves including Shawn Colvin and Joan Baez, and in the second one we play and discuss some of her greatest works. This is truly a “don't miss” episode. My featured song is “Stockbridge Fanfare” from the East Side Sessions album by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Judy atwww.judycollins.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

The Richard Syrett Show, July 24th, 2024 President Biden Drops Out or Was Shoved Aside – Who is Running the Country? Dems Install Kamala Harris ad Nominee – Do they Have a Plan “C”? Director of Secret Service Resigns Admits She Failed. Now Secret Service Advises Trump Campaign to Stop Outdoor Rallies. Is this Election Interference? Drew Allen – Political Commentator, host of “The Drew Allen Show” author of “America's Last Stand: Will You Vote to Save or Destroy America in 2024” drewallen.substack.com THE CULT OF CLIMATE CHANGE Hottest Day Ever https://climate.copernicus.eu/new-record-daily-global-average-temperature-reached-july-2024  Feds say solar panels pose ‘significant pollution risk' in landfills, but recycling them is too costly https://www.westernstandard.news/news/feds-say-solar-panels-pose-significant-pollution-risk-in-landfills-but-recycling-them-is-too-costly/56304  Tony Heller - Geologist, Weather Historian, Founder of Real Climate Science dot com Peter Navarro - Former Trump Advisor, Director of the United States Office of Trade and Manufacturing Policy. Author of The New Maga Deal: The Unofficial Deplorables Guide to Donald Trump's 2024 Policy Platform Documents suggest Trudeau exerted influence over Toronto police https://www.rebelnews.com/exclusive_docs_suggest_trudeau_exerted_influence_over_toronto_police  Sheila Gunn Reid, Rebel News Alberta Bureau Chief and Host of “The Gunn Show” Wednesdays 9pm eastern THIS DAY IN ROCK HISTORY 2022 - Joni Mitchell surprised the crowd at Newport Folk Festival, Rhode Island when she joined Brandi Carlile on stage for two songs. Fans were treated to a rare performance from the music legend when she appeared during Carlile's set. Performing from a chair (Mitchell had a brain aneurism in 2015), the pair sang Mitchell's classics ‘Both Sides Now' and ‘A Case Of You', released in 1966 and 1971, respectively. She also played the guitar solo from her 1974 song ‘Just Like This Train'. 2019 - Queen's iconic ‘Bohemian Rhapsody' video reached one billion views on YouTube, a new record for one of the band's videos. The milestone made it the first pre-1990s video to reach one billion views on the platform. ‘Bohemian Rhapsody' was also named as the most Googled song of 2018. 2003 - Johnny Cash picked up six nominations in the MTV Video Music Awards for his remake of Nine Inch Nails' 'Hurt' from his album, American IV: The Man Comes Around. The video, featuring images from Cash's life and directed by Mark Romanek, was also named the best video of the year by the Grammy Awards and CMA Awards, and the best video of all time by NME. 1982 - Survivor started a six week run at No.1 on the US singles chart with 'Eye Of The Tiger', taken from the film 'Rocky III'. Also No.1 in the UK. Survivor won the Grammy Award for Best Rock Performance for the song.  Jeremiah Tittle, Co-Host of “The 500 with Josh Adam Myers” Podcast, CEO/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Beautiful song alert! Canadian legend Joni MItchell's early classic "Both Sides Now" is the tune of the week, and it touches Erik and Weldon's Prairie souls. A wide-ranging discussion of Canadian accents, British Surrealists, Plato's Cave, and the journey of life ensues. Judy Collins had a hit with the tune in '68, and we dig the Baroque arrangement, and isn't the organ a little ... garagey? That same year, an obscure band called The Collection authored a psych-bubblegum version that has some modulation and icy princess vocals and a cool drone at the end. The final version we talk about is from The Tokens, of "The Lion Sleeps Tonight" fame. They really show the whim-o-way forward! Play this one right out loud!!

We conclude our trip to Arizona with a visit from Pandy Rae. Enjoy the cover of Joni Mitchell's Both Sides Now as well as her original song One Of These Days

Judy Collins is an iconic Renaissance Artist and Grammy Winning Singer/Songwriter with 55 albums and hit singles including Joni Mitchell's “Both Sides Now” and Stephen Sondheim's “Send In The Clowns”. She has been a dominating force in social activism, as a filmmaker, author and as a keynote speaker. And she had one of the greatest songs of the rock era written about her - “Suite: Judy Blue Eyes” by Stephen Stills and Crosby Stills and Nash. In this wonderful interview we discuss her background and successes, including her artistic formative years in the Greenwich Village folk scene of the 1960s with fellow artists Joan Baez, Dave Van Ronk, Richie Havens and Peter Paul and Mary, and she tells a few terrific stories. And we do a Double Songfest. In the first one we play and discuss several songs by other artists who she loves including Shawn Colvin and Joan Baez, and in the second one we play and discuss some of her greatest works. This is truly a “don't miss” episode. My featured song is “Stockbridge Fanfare” from the East Side Sessions album by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Judy atwww.judycollins.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Welcome to the Instant Trivia podcast episode 1210, where we ask the best trivia on the Internet. Round 1. Category: Shared Last Names 1: Governor Howard and pitcher Dizzy. Dean. 2: Musician Miles and actress MacKenzie. Davis. 3: Actresses Lana and Kathleen. Turner. 4: Singer James and chef Alton. Brown. 5: Actress Esther and pianist Roger. Williams. Round 2. Category: Disguise 1: Participants in the famous Boston Tea Party were disguised as these. Indians. 2: Disguised as a clergyman, Thomas Blood stole the British crown from this site in 1671. the Tower of London. 3: He was a swan for Leda and a cuckoo for Hera. Zeus. 4: Dressed as a beggar, he discovered his wife Penelope had been faithful during his long trip. Odysseus. 5: Legend says in 878 this "Great" English king dressed up like a minstrel to spy on the Viking camp. Alfred (the Great). Round 3. Category: A Century Ago: 1923 1: This facility hosts its first game, with Babe Ruth hitting a 3-run homer to beat the Red Sox. Yankee Stadium. 2: This constitutional amendment to ban discrimination based on sex is first proposed in Congress. the ERA. 3: At a conference of 20 nations in Vienna, this global law enforcement body is founded. INTERPOL. 4: Peering back millennia, this archaeologist opens King Tut's burial chamber in the Valley of the Kings. Howard Carter. 5: This Russian immigrant files a patent for the iconoscope, the first television transmission tube. Vladimir Zworykin. Round 4. Category: Girls With Guitars 1: In 1995 she won Grammys for Best New Artist, Pop Vocal, Female and Record of the Year for "All I Wanna Do". Sheryl Crow. 2: This writer of "Both Sides Now" taught herself to play guitar from an instruction book. Joni Mitchell. 3: She got her start performing with her parents in Alaskan Eskimo villages. Jewel. 4: In 2002 she teamed up with Santana, singing lead on "The Game Of Love". Michelle Branch. 5: (I'm Wynonna.) One of my favorite songs is "I Can't Make You Love Me" by this sassy singer-guitar player. Bonnie Raitt. Round 5. Category: Wanna Bet? 1: In Texas hold 'em, if the flop doesn't fit your hand, the experts say do this. fold. 2: If the bettor buys insurance after the dealer shows an ace, he's playing this game. blackjack. 3: In the '50s, Edward Thorp fed millions of hands of this game into a computer which figured out how to win at it. blackjack. 4: In 2016 a few happy bettors cashed in 5,000-1 tickets after Leicester City won the title in England's top league in this sport. soccer. 5: In this game a don't pass bet is a wager against the shooter. craps. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

More than 50 years ago, singer-songwriter Joni Mitchell released what became her signature album, Blue. The record is full of complex lyrics, gorgeous guitar and deeply personal themes. Hosts Jim DeRogatis and Greg Kot do a classic album dissection of Blue, sharing the context of the record, exploring its lasting impact and looking in depth at its impressive track list.Get Exclusive NordVPN deal here → https://nordvpn.com/soundops It's risk-free with Nord's 30-day money-back guarantee!--Become a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsJoin our Facebook Group: https://bit.ly/3sivr9T--Featured Songs:Joni Mitchell, "Carey," Blue, Reprise, 1971Joni Mitchell, "All I Want," Blue, Reprise, 1971Joni Mitchell, "Both Sides Now," Clouds, Reprise, 1969Joni Mitchell, "Big Yellow Taxi," Ladies of the Canyon, Reprise, 1970Joni Mitchell, "Cactus Tree," Song to a Seagull, Reprise, 1968Joni Mitchell, "Hejira," Hejira, Asylum, 1976Joni Mitchell, "Little Green," Blue, Reprise, 1971Joni Mitchell, "Nancy Whiskey," Joni Mitchell Archives – Vol.1: The Early Years, Rhino, 2020Joni Mitchell, "Day After Day (Demo)," Day After Day (Demo), unreleased, 1965Joni Mitchell, "Urge for Going," Urge for Going (Single), Asylum, 1972Joni Mitchell, "For Free," Ladies of the Canyon, Reprise, 1970Joni Mitchell, "A Case of You," Blue, Reprise, 1971Joni Mitchell, "Blue," Blue, Reprise, 1971Joni Mitchell, "This Flight Tonight," Blue, Reprise, 1971Joni Mitchell, "The Last Time I Saw Richard," Blue, Reprise, 1971Joni Mitchell, "California," Blue, Reprise, 1971Joni Mitchell, "My Old Man," Blue, Reprise, 1971Joni Mitchell, "River," Blue, Reprise, 1971Billie Eilish, "Lunch," Hit Me Hard And Soft, Darkroom, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I had always assumed that piano keyboards were standardized and unchangeable. That it was our job as musicians to adapt to the instrument, rather than making it adapt to us. I'm delighted to find that I was mistaken!  Pianist, vocalist, composer, singer-songwriter, actor, and entrepreneur, Hannah Reimann began her career as a concert pianist with a pedagogical lineage that traces back through generations to Beethoven via her teachers, German Diez, Arminda Canteros, Kenneth Cooper etc. and a touring history with violist Paul Coletti with whom she performed together with internationally in the 1990s and early 2000s. She is currently completing both a solo piano album of new music and a pop EP of original songs. Her show, Both Sides Now, The Music of Joni Mitchell, has been heard in four states for the past 12 years. She has led a multi-genre life since she was a teen, singing in bands, playing Beethoven Sonatas and Mozart Concertos, and competing in a piano competition. In 1997, Hannah independently rebuilt her Steinway piano to better accommodate her hand size. Her success with the instrument has made her the face of the stretto piano as a producer of concerts. Ms. Reimann was featured on the front page of the Wall Street Journal as a “musician on a mission to make the world safe for small pianists.” For more than 30 years, her goal has been to influence piano manufacturers worldwide to offer narrow-key pianos (which we now generically call “stretto”) and to produce concerts with them everywhere. She created the nonprofit Stretto Piano Events in 2024 after founding the festival and concert series in 2021.   Read more at the website, instagram, Facebook, or see the concert schedule online. You can donate to Hannah's initiative HERE.    Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

Welcome to the Instant Trivia podcast episode 1203, where we ask the best trivia on the Internet. Round 1. Category: Music Icons 1: Valerie Bertinelli said of this rock icon that she loved him "more than I know how to explain. I loved his soul". Eddie Van Halen. 2: Fans the world over celebrate this reggae legend on February 6, his birthday. Bob Marley. 3: At the 2022 Newport Folk Festival, she delighted fans with her "Both Sides Now" and "Big Yellow Taxi", among others. Joni Mitchell. 4: On a historic day in 1976, Joe Strummer met Mick Jones in London, calling their legendary band this came later. The Clash. 5: Her recording career lasted less than 4 years; her final studio album was 1971's "Pearl", featuring "Me And Bobby McGee". Janis Joplin. Round 2. Category: Crossword Clues D. With D in quotes 1: The usually wealthy widow of a king(7). a dowager. 2: Pre-Christian Celtic priest(5). a druid. 3: France's patron saint(5). Denis. 4: Touch-tone predecessor (4). dial. 5: Bird of peace(4). a dove. Round 3. Category: Hairy 1: The short hairstyles worn by the men who fought the Cavaliers in 17th C. England earned them this name. the Roundheads. 2: The feet of this arctic ursine creature are partly webbed and have hairy soles to help with traction. polar bear. 3: This term for a knight's apprentice is also the name of a bobbed, usually jaw-length hairstyle. page boy. 4: This great ape's name comes from a Greek word referring to a legendary tribe of hairy women. gorilla. 5: The name of this type of insect larva is from the late Latin for "hairy cat". caterpillar. Round 4. Category: Women'S Memoirs 1: "I Feel Bad About My Neck", about the travails of aging, is by this late, great writer and director of "You've Got Mail". Nora Ephron. 2: "Fight Like a Girl" and "Unbecoming" recount women's experiences in this "most masculine" branch of the U.S. military. Marines. 3: "My Life in France" is the story of how this chef found her true calling. Julia Child. 4: Award-winning screenwriter Diablo Cody's record of her time as one of these performers is titled "Candy Girl". a stripper. 5: This advisor to Barack Obama wrote "Finding My Voice: My Journey to the West Wing and the Path Forward". Valerie Jarrett. Round 5. Category: Culinary Before And After 1: Finest olive oil grade whose British capital is Road Town and whose American capital is Charlotte-Amalie. extra Virgin Islands. 2: Round Southern fried cornmeal cake that's the object of a youthful crush. hush puppy love. 3: Chili's rib cut that stars in a Robert Zemeckis time-traveling comedy. Baby Back to the Future. 4: Bite-size French language dessert cake that wreaks havoc in the Book of Revelation. petit Four Horsemen of the Apocalyse. 5: French dish of chicken, onion, wine, mushrooms and pork blindly stewing onscreen as space opera anti-hero Riddick. coq au Vin Diesel. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Beth Lederman, first call piano player and native Phoenician , stops by for a chat. Beth comes from a long line of accomplished musicians and music enthusiasts. Her grandfather started Lederman Music which he moved to Phoenix from Virginia in the 1950s. His store was a major hub in the music scene. Beth, not surprisingly, was inspired to play the piano at a very early age. She continued pursuing her passion for music through college(s), until making her way back to Arizona where she played in rock bands, started a latin band called Nuvo Mundo, and various jazz ensembles. We share war stories about hosting jam sessions, we talk about life as a musician, and what's on the horizon for her. We also hear her perform "Both Sides Now" from a recent performance. For more information, please visit https://bethlederman.com/

In 1983, a 25 year old Nancy Cruzan was thrown from her car while driving home in Missouri, landing in a water filled ditch. She was resuscitated by EMS, but did not regain higher brain function, and was eventually diagnosed as being in a persistent vegetative state.  In 1988, Cruzan's parents requested that her feeding tube be removed, arguing that she would not want to continue in this state. The hospital refused without a court order, and the case eventually made its way to the Supreme Court. Arguing for the state of Missouri against the Cruzan's was Ken Starr, who would later be assigned the role of special prosecutor in the investigation of the Clintons (Whitewater, Lewensky, etc). In 1990 the Supreme Court ruled…for the state of Missouri.  On the one hand, this was unfortunate, as it meant Nancy Cruzan could not be disconnected from the feeding tube immediately. On the other hand, the ruling allowed states to set their own evidentiary standards to refuse or withdraw life sustaining interventions.  Missouri set a very high bar, explicit written documentation that applies to this specific circumstance, which the Cruzan's eventually cleared.  Other states set lower bars, including oral assignment of surrogate decision-makers. The Cruzan ruling led to a flood of interest in Advance Directives, and eventually to the Patient Self Determination Act, which mandates provision of information about advanced directives to all hospitalized patients. Today, we talk with Bernie Lo, prominent bioethicist and practicing primary care internist, and Laurie Dornbrand, geriatrician at the IOA On Lok PACE, about the legacy of Nancy Curzan.  We use Bernie's NEJM Perspective as a springboard for discussion.  We discuss, among other things: How and why in the 30 years since the Cruzan ruling the emphasis has shifted from advance directive forms to in-the-moment discussions And validating the importance of the advance directive forms in some circumstances, and in starting conversations The role of the clinician in engaging patients in advance care planning and in-the-moment serious illness conversation: what questions are important? What words to use? Is the POLST useful? How? Under what circumstances?  Should we abandon the term, “comfort measures?” In case you miss the introductions at the start of the podcast, Bernie and Laurie are married, and offer wonderful reminiscence of their clinical practice over the last several decades.  So when Bernie says, “I've heard you take these phone calls in the middle of the night, Laurie…” Now you know why! And great song choice: Both Sides Now by Joni Mitchell.  Joni suffered a stroke and had to completely re-learn how to play guitar.  Her comeback performances are inspirational, such as this one at the Newport Folk Festival, attended by another influential GeriPal couple, Sean Morrison and Diane Meier. You get to hear my stripped down Hawaiian slack key style version of Both Sides Now (easy to play with 2 fingers, still in rehab for broken hand, hoping to have full use again soon). Enjoy! -@AlexSmithMD  

In this interview, Heather and I chat about the legacy music can leave within a family and beyond. Read about more inspiring, powerful songs in my FREE download ➡️ bit.ly/35PowerofMusicSongs Having released her latest album ‘Twilight Mist', we talk about how this album came together, what her intentions with it are and what she hopes her listeners will take away from it. We also dive into the ‘legacy of music' that has impacted her greatly, thanks to her mother's love of music and the impact this had not only herself, but everyone her mother's was in touch with. Whilst this episode starts of talking about grief, it becomes a beautiful tribute to the amazing power music can have on families and beyond – with both sides of our emotions touches; grief and joy! ===================== Subscribe and listen to the Living on the B Side Podcast HERE: =====================

Mary Tonkin is a contemporary Australian landscape painter based in the Dandenong Ranges, Victoria. Her large textured oil paintings exquisitely capture the immense beauty of this lush forest landscape surrounding her studio. Her current exhibition "Both Sides Now" is currently showing at Australian Galleries, Collingwood. Instagram: @mary.tonkin https://australiangalleries.com.au/exhibitions/mary-tonkin-sr24-both-sides-now/

Graphic Designer and 'professional fan' José Valle joins to talk about traveling to see concerts, fan communities, and the greatest song(s) he's ever heard in his entire life, "How Do You Sleep At Night?" and "Be Your Home" by Gatlin!   Follow José on instagram or youtube @foxiegaspie  And go back to hear our interview with Gatlin talking about Joni Mitchell's "Both Sides Now" here!    @gr8songpod on twitter, instagram, and tiktok @ScottInterrante on instagram @Katherinethegr8 on instagram Theme music: "Kratos In Love" by Skylar Spence Mixing Assistance by Michael Isabella Podcast Art designed by Roger Feeley-Lussier We're now on YouTube! Like And Subscribe, as they say, @gr8songpod

Enroll at Starcademy for our second Space Cases cast reunion! Kristian Ayre (Radu) joins us for the first time, and Anik Matern (Thelma), Cary Lawrence (Davenport), Paige Christina Heuser (Rosie), and Rahi Azizi (Bova) teleport into Splat Attack Studios once again. Season 1 left us on a cliffhanger but season 2 has yet to really be explored! We board the Christa with the crew once again to venture into the body swapping episode, “Both Sides Now." What was it like for the cast to portray other variations of their characters? How did the crew bond behind the scenes? Which cast member wins our "Say What?" trivia game? Use your telepads to join us in the studio and find out! Please support Peter David's Go Fund me: https://www.gofundme.com/f/peter-david-fund If you're interested in seeking out an acting coach, Anik has years of experience: https://www.facebook.com/montrealactingcoach Looking for a Yoga instructor? Cary has got you covered: https://www.facebook.com/cary.lawrence.56 Join us in the Christa for a galactic good time! Unlock Bonus Content on Patreon Shop at our Splat Attack Merch Store Email Us: SplatAttack2021@gmail.com   YouTube: Splat Attack! Podcast Instagram: @SplatAttackPodcast Please leave us a review in your podcast app!   

For this cycle's "Mise-Unseen" entry, Madeline, Emilio and Julian finally pony up for Apple TV Plus subscriptions and see 'CODA', Sian Heder's 2021 Best Picture winning film.  Like the Joni Mitchell classic at the heart of this film, the trio can't help but see both triumphantly good and puzzlingly frustrating aspects to 'CODA'.  For all the powerful and winning scenes with the Rossi family (that scene on the pickup truck!), there are clunky and shallow ones with most every other peripheral character.  For all the great ways this film centers and empowers its deaf actors and main characters, it also short changes the viewer with an overly predictable narrative.  And this group of musicians can't help but weigh in on the music plot line.  From up and down, and still somehow, there is genuine appreciation for this film, but not without some nits to pick.    For those who are deaf or hearing impaired, a full written transcript for this episode can be found on this episode's Buzzsprout link!https://www.buzzsprout.com/2269866/14621363And If you enjoy our podcast, please consider writing us a positive review on your podcast platform of choice.  It really helps us be shared and enjoyed by others!Follow us on IG and Tik Tok! @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.com!On Letterboxd?  Follow Julian @julian_barthold and Madeline @patronessofcats

At this year's Super Bowl halftime show, Usher Raymond sang through decades of hits while twirling on roller skates, making a case for himself as one of the great R. & B. artists of our time. The performance illuminates a key aspect of modern pop stardom: the fashioning of one's legacy in real time. In this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how musicians' images take shape independent of their music. They consider “Bob Marley: One Love,” a new bio-pic made with the support of the Marley estate that deliberately smooths the rough edges of the singer's life. Today's performers take a more active role in their own reputation management, using high-profile appearances to stake a claim or reinforce their persona. At this year's Grammy Awards, the question of legacy came to the fore when Jay-Z took issue with the fact that his wife, Beyoncé, has never won the coveted Album of the Year award. But the most indelible moments from the ceremony involved songs from decades prior—a reminder that the music itself is often more enduring than any formal accolade. “Rather than legacy in corporate terms or in institutional terms,” says Fry, there's also “the legacy of the heart.”Read, watch, and listen with the critics:“Bob Marley: One Love” (2024)“Both Sides Now” by Joni Mitchell, as performed at the 2024 Grammys “If I Ain't Got You” by Alicia KeysLuke Combs's cover of “Fast Car” by Tracy ChapmanTwins react to “In the Air Tonight” by Phil Collins“Walk the Line” (2005)“You Make Me Wanna . . .” by UsherNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

It's not so much that California knows how to party, but moreso about how magical SF and LA are to Claire and Anna. Bear w/ them as they do a little California Dreamin'. Listen as Laurie talks about the power of possibly making these dreams come true by manifesting it into reality. Also, did you see the Grammy Awards? What did you think of Tracy Chapman and Luke Combs' performance of Fast Car? And Joni Mitchell's Both Sides Now? How about Jay-Z's acceptance speech? Bet one of those Grammy moments made you cry....or not!

It's not so much that California knows how to party, but moreso about how magical SF and LA are to Claire and Anna. Bear w/ them as they do a little California Dreamin'. Listen as Laurie talks about the power of possibly making these dreams come true by manifesting it into reality. Also, did you see the Grammy Awards? What did you think of Tracy Chapman and Luke Combs' performance of Fast Car? And Joni Mitchell's Both Sides Now? How about Jay-Z's acceptance speech? Bet one of those Grammy moments made you cry....or not! Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Subscriber-only episodeIn this solo episode, I talk about the beginnings of the Grammys, in 1958, the inspiration for Joni Mitchell's song "Both Sides Now", which she performed live at the 2024 Grammy Awards ceremony, the memorable '80s performance of Tracy Chapman's "Fast Car", which became a hit for Luke Combs in the 2020s, and the record-making achievement of Taylor Swift's album Midnight.The Brainwave Podcast is produced and presented by WindWord Group Publishing and Media. Please visit our website at https://www.windwordgroup.com to sign up for our newsletter and receive regular information about upcoming guests, new releases, and special gifts for regular listeners and readers. The Brainwave Podcast is produced and presented by Gail Hulnick and The WindWord Group Publishing & Media.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. 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 No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, & a firm commitment to social activism. In the 1960s, she evoked both the idealism & steely determination of a generation united against social and environmental injustices. Six decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 55-album body of work, & heed inspiration from her spiritual discipline to thrive in the music industry for half a century. The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards & her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell's “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy's dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music, won "Song of the Year” at the 1975 Grammy Awards. She's garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary & classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins. Judy began her impressive music career at 13 as a piano prodigy dazzling audiences performing Mozart's “Concerto for Two Pianos,” but the hard luck tales & rugged sensitivity of folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. Her path pointed to a lifelong love affair with the guitar & pursuit of emotional truth in lyrics. The focus and regimented practice of classical music, however, would be a source of strength to her inner core as she navigated the highs and lows of the music business.    

Irene is thrilled to share her recent interview on the “Both Sides Now and Beyond Podcast” with Kellee White and James Van Praagh!They delved into conversations about grief, rebirth, and finding joy in living. Irene opens up about losing her husband and her journey inward to tap into her spiritual self. She also tells the story of how she became a full-pledged grief educator for those who are hurt, lost, and depressed.If you or someone you know is navigating through grief or the journey of recovery, we encourage you to tune in! Your heart might find solace in our shared experiences and insights.For more Both Sides Now and Beyond episodes, visit https://youtube.com/playlist?list=PLHYSQ7QWu-dmfSsoXd0pjOmRhFA2M4I-F&si=tpKkEb85m7L49-nyConnect with James at https://vanpraagh.comConnect with Kellee at https://www.kelleewhite.com

This week on Joni Jams, Ryan looks back at Joni's 2002 symphonic reimagination of her older work entitled Travelogue. Originally intended to be her final album before true retirement, this album sees the sound and style of the previous Both Sides Now album applied to Joni's own work. Join Ryan as he gushes over the lush orchestrations, analyzes the new reworkings of her songs, and talks about this more forgotten period of Joni's career. Thanks for listening!

Singer-Songwriter Gatlin joins us to talk about moving from Florida to Nashville to LA, the excitement of playing music live, and the greatest song she's ever heard in her entire life, "Both Sides Now" by Joni Mitchell.   Plus, Katherine and Scott ring in the Christmas Music Season by talking about some great new Christmas Pop releases   Check out Gatlin's  latest EP, 'I Sleep Fine Now' and follow her on twitter and instagram @gatlin    @gr8songpod on twitter, instagram, and tiktok @ScottInterrante on instagram @Katherinethegr8 on instagram Theme music: "Kratos In Love" by Skylar Spence Mixing Assistance by Michael Isabella Podcast Art designed by Roger Feeley-Lussier

This week on Joni Jams, Ryan reviews Jonis's first album of the 2000s Both Sides Now. With the addition of her smoky voice and a large orchestra, Joni tells a conceptual story of love and loss through old torch songs and her own older material. Join Ryan as he interprets this modern depiction of a love story and talks about the new sound of a new milinuem Joni. Thanks for listening!

1. Wampum Prayer (30 November 2002 - Minneapolis, MN) 2. A Sorta Fairytale (30 November 2002 - Minneapolis, MN) 3. Take to the Sky (2 June 2007 - Paris, FR) 4. Past the Mission (5 September 1999 - Indianapolis, IN) 5. Girl (7 June 2022 - Portland, OR) 6. Strange Little Girl (27 July 2003 - Eugene, OR) 7. Cornflake Girl (5 May 1998 - San Francisco, CA) 8. Girl Disappearing (9 December 2007 - Oakland, CA) 9. Another Girl's Paradise (12 April 2003 - San Jose, CA) 10. Bells for Her (7 June 2007 - Munich, GER) 11. Rattlesnakes (2 November 2001 - Austin, TX) 12. Maybe California (12 June 2014 - Warsaw, POL) 13. Both Sides Now (27 August 2005 - Toronto, ONT) 14. Curtain Call (3 August 2009 - Chicago, IL) 15. Spark (5 July 1998 - Werchter, BEL) 16. Lady In Blue (25 April 2023 - Oslo, NOR) 17. Precious Things (20 September 2009 - Copenhagen, DEN) 18. Spring Haze (25 February 2003 - Charlotte, NC) 19. Code Red (20 April 2023 - Paris, FRA) 20. Tombigbee (7 June 2022 - Portland, OR) 21. Hotel (17 July 2023 - Red Rocks, CO) 22. Graveyard / Tear In Your Hand (19 September 1999 - Concord, CA) 23. Sweet the Sting (18 May 2005 - Melbourne, AUS) 24. Liquid Diamonds (28 November 2017 - San Diego, CA) 25. Twinkle (5 December 2001 - Glasgow, SCO)

For her 80th (!), let’s listen to covers of one of the most covered artists ever – Joni Mitchell. Everything you’re hoping to hear, from A Case of You to Both Sides Now and everything in between! (65 minutes)

Joni Mitchell's songs have soundtracked our lives and her pioneering work changed music forever. Jesca Hoop explores her extraordinary story to reveal the life behind the legend.In episode two we follow Joni from 1964 through to late 1969. Joni makes a 'bad marriage', signs adoption papers, leaves a bad marriage, makes it to Greenwich Village and then to LA's Laurel Canyon. We find out about the inspiration for some of her best known songs, including Little Green and Both Sides Now. In 1968, her recording career begins with her debut album 'Song to a Seagull'; with two more records following in quick succession - Clouds, and Ladies of the Canyon. In 1969, she is heartbroken to miss out on one of the biggest events of her generation - Woodstock. But - despite not getting to go - she writes a song that will help to define the event, and the era, in the popular imagination. “I've always been a creature of change” – Joni MitchellThrough archive, fresh interviews, narration, immersive sound design and an original score, we trace the story of an extraordinary life and explore what makes Joni Mitchell a singular artist: the genius of her lyrics; her incredible talent as guitarist, painter and producer; and her restless drive for innovation.In Legend, we follow Joni from her ‘flatlander' childhood on the Canadian prairies, through the folk clubs of Toronto and Detroit, to a redwood cottage in L.A.'s Laurel Canyon, to a cave in Crete, to a deserted desert highway, to recording studios and stages around the world. From her earliest home recordings to masterpieces like Blue, Court and Spark, and Hejira, we explore some of the stories behind her best-loved songs and celebrate her remarkable return to live performance in 2023: “like seeing, in the wild, a rare bird long feared extinct”.Our guide through the series is the California-born, Manchester-based musician, Jesca Hoop. Jesca speaks to musicians like Blake Mills, Allison Russell, Holly Laessig and Jess Wolfe, who have played alongside Joni, and we hear tributes from those, like musician John Grant, who have been inspired and influenced by her music. We also hear from Joni's friends, including Larry Klein and Graham Nash; and from music critics and biographers, including Ann Powers, David Yaffe, Lindsay Zoladz, Kate Mossman, Barney Hoskyns, Miles Grier and Jenn Pelly.The Joni Mitchell Story comes from the production team behind BBC Radio 4's award-winning podcast Soul Music – “… the gold standard for music podcasts…” (Esquire).Producers: Mair Bosworth and Eliza Lomas Production Coordinator: Andrew Lewis Editor: Chris Ledgard Story Editor: Emma Harding Story Consultant: John Yorke Sound Design and Original Music: Hannis Brown Studio Engineers: Ilse Lademann and Michael Harrison Commissioning Editor: Daniel Clarke

For her 80th (!), let’s listen to covers of one of the most covered artists ever – Joni Mitchell. Everything you’re hoping to hear, from A Case of You to Both Sides Now and everything in between! (65 minutes)

In this episode, we chat with Jia Ying Tay. Jia Ying is an end of life doula based out of Singapore and the founder of Happy ever after, a service that connects with and support individuals directly in end of life planning. She also served as a co-creative producer of an arts based community engagement project called Both Sides Now. We talk about her journey to becoming an end of life doula in Singapore, the inspiration behind creating her company and the complexities of navigating conversations about death and dying in Asian cultures. To find out more about Jia Ying's work visit: www.happyeverafter.sg/ and www.bothsidesnow.sg.   For more information visit: www.waitingroomrevolution.com Our theme song is Maypole by Ketsa and is licensed under CC BY-NC-ND 4.0

Wilco frontman Jeff Tweedy is out with a new book next week, World Within a Song: Music That Changed My Life and Life That Changed My Music. In the book, Tweedy reflects on his life and fifty songs that have influenced him, including Joni Mitchell's "Both Sides Now," Abba's "Dancing Queen," and even "Happy Birthday." Tweedy joins us to discuss. Tweedy will be at Congregation Beth Elohim in conversation with The New Yorker's Amanda Petrusich, hosted by Community Bookstore, on November 6.

Allein schon mit ihren Singer-Songwriter-Alben Ende der 60er Jahre hätte sie einen wichtigen Platz eingenommen in der Musikgeschichte: Joni Mitchell. Die unkonventionellen Harmonien, die herausragenden Texte, die intensive Stimme: alles da. Aber Joni Mitchell erfindet sich danach gleich noch mehrere Male neu. Sie spielt und singt auf Augenhöhe mit ihren Lieblings-Jazz-Musikern in den 70er Jahren, hat eine pop-rockige Phase in den 80ern und findet einen nochmals neuen, entspannteren Ton in den 90er Jahren. Und sogar danach, wenn sie ihre eigenen Klassiker noch einmal mit grossem Orchester aufnimmt (Both Sides Now), ist das nicht Nostalgie, sondern pure Innovation. Die Singer-Songwriterin Anet Zemp hat sich viel beschäftigt mit der jungen und der älteren Joni Mitchell. Sie versucht eine Annäherung als Gast in der Jazz Collection von Jodok Hess. Erstausstrahlung: 06.11.2018, damals zum 75. Geburtstag von Joni Mitchell.

How do borderlands work? How do they maintain their distinctive features in the face of concerted efforts on the part of nation-states to make each of their borderlines into a harsh demarcation? According to most contemporary political discourse and popular perceptions, the two borders of the United States West have little in common but understanding their borderlands' similarities can help us understand some of the most powerful forces shaping human history and the world around us; understanding their historiographies gives us insight into borderlands historians' unique methodology. Both Sides Now: Writing the Edges of the North American West (Texas A&M UP, 2022) brings together leading scholarship in a focused, synthetic survey of five themes in the history of the northern and southern borderlands: the borderlands as aboriginal homelands and the persistence of Indigenous territories and ways of being; imperial and national efforts to create binary notions of territory and identity; regulatory efforts aimed at stopping or limiting the movement of certain people across their borders; the weakening of those efforts by cross-border movement of capital, goods, and people, usually aided by state power, and the complex, binary-refusing identities that persist in borderlands communities. Historian Sheila McManus uses these themes to highlight the commonalities between the two borderlands' histories and provides an overview and a starting point for experts and newcomers in the field of North American borderlands history to address new questions. By conceptualizing both borders together and focusing particular attention on race and gender as well as empire and nation, Both Sides Now provides a unique methodology in North American scholarship that emphasizes the connections between these borderlands and others around the world. Sheila McManus is professor of history at the University of Lethbridge in Alberta, Canada. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How do borderlands work? How do they maintain their distinctive features in the face of concerted efforts on the part of nation-states to make each of their borderlines into a harsh demarcation? According to most contemporary political discourse and popular perceptions, the two borders of the United States West have little in common but understanding their borderlands' similarities can help us understand some of the most powerful forces shaping human history and the world around us; understanding their historiographies gives us insight into borderlands historians' unique methodology. Both Sides Now: Writing the Edges of the North American West (Texas A&M UP, 2022) brings together leading scholarship in a focused, synthetic survey of five themes in the history of the northern and southern borderlands: the borderlands as aboriginal homelands and the persistence of Indigenous territories and ways of being; imperial and national efforts to create binary notions of territory and identity; regulatory efforts aimed at stopping or limiting the movement of certain people across their borders; the weakening of those efforts by cross-border movement of capital, goods, and people, usually aided by state power, and the complex, binary-refusing identities that persist in borderlands communities. Historian Sheila McManus uses these themes to highlight the commonalities between the two borderlands' histories and provides an overview and a starting point for experts and newcomers in the field of North American borderlands history to address new questions. By conceptualizing both borders together and focusing particular attention on race and gender as well as empire and nation, Both Sides Now provides a unique methodology in North American scholarship that emphasizes the connections between these borderlands and others around the world. Sheila McManus is professor of history at the University of Lethbridge in Alberta, Canada. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Are borders real? This is the question at the center of Both Sides Now: Writing the Edges of the North American West (Texas A&M UP, 2022) by Lethbridge University history professor Sheila McManus. As a close examination of borderlands historiography, McManus shows how studying regions where no one nationality, tribe, empire, or culture, held hegemonic sway can decenter the nation state from historical narratives. Both Sides Now functions as both a historiographical state of the field of borderland studies, and a primer on some of the best examples of borderlands histories in the North American West. By comparing the Canadian- and Mexican-American borderlands, McManus also points the way forward for the field, asking what happens when borderlands go global, from Western American to West Africa, or Southeast Asia. Borderlands studies, McManus stresses, can be a radical form of history; if national borders primarily exists on maps and in people's minds, what else that seems solid might vanish into air under close scrutiny? Sheila McManus is professor of history at the University of Lethbridge in Alberta, Canada. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

NEW FOR AUGUST 1, 2023 Tick, tick, tick . . . Molten Planet - The Best Radio You Have Never Heard Vol. 465 1. America The Beautiful (live) - Tony Bennett 2. I Won't Back Down (live) - Tom Petty and The Heartbreakers 3. Wicked Games (unplugged) - Chris Isaak 4. Razor Face (early) - Elton John 6. Half A Person - The Smiths 7. Soulshine (live) - Warren Haynes 8. Almost Cut My Hair (live) - The Allman Brothers w/ David Crosby and Graham Nash 9. Jerusalem (live) - Sinead O'Connor 10. Both Sides Now (live) - Joni Mitchell 11. High (live) - The Cure 12. Caught In My Shadow - The Wonderstuff 13. Hallelujah (alt) - Happy Mondays 14. Too Nice To Talk To (live) - English Beat 15. War / No More Trouble (live) - Bob Marley and The Wailers 16. Dream - Matt Tiegler 17. Everydays - Buffalo Springfield 18. While My Guitar Gently Weeps (live) - Peter Frampton w/ Eric Clapton 19. Stormy Monday (live) - Cream 20. Crossroads (live) - Derek and The Dominos 21. Blues Power (live) - Albert King 22. What's The Use Of Getting Sober / Jumpin' Jive (live) - Joe Jackson 23. The Load Out / Stay (live) - Jackson Browne and David Lindley The Best Radio You Have Never Heard. Still cool after all these years. Accept No Substitute. Click to join the conversation on the Facebook page.

This week, Americana singer-songwriter Waylon Payne talks about Willie's 1970 cover of Joni Mitchell's iconic “Both Sides Now.” Waylon, an NPR-darling as an artist now, grew up in Willie World; his mom, Sammi Smith—of “Help Me Make It Through the Night” fame—played package shows with Willie in the ‘70s; and his dad, Jody Payne, was Willie's lead guitarist for almost forty years. Waylon walks us through all that, describing the way Willie songs were his lullabies as a kid, the incredibly difficult personal trials when he says Willie saved his life, and the time Willie paid his songwriting the highest praise possible. Note: the compliment wasn't remotely suitable for small ears.

Tune your ears to another extra-special episode of Fire and Water Records! In part 2 of a super-smash crossover event with Pop Culture Affidavit, the brothers Ryan and Neil Daly welcome guest host Tom Panarese to continue their already-three-hours-long discussion on favorite cover songs for another equally-long-conversation (seriously, what the hell is wrong with these guys?!!). What makes a great cover song? What's the point of covering somebody else's music? Do women sing Tom Waits songs better than he does? Do punk bands play Bob Dylan songs better than he does? Why does Panarese hate his sister? What genre does Neil like more than rock 'n roll? What song makes Ryan think about dying, but like, y'know, in a good way, maybe? All these questions, and many more than you want to know, will be answered on this episode of Fire and Water Records! Track list "Hey Jude" (The Beatles) covered by Wilson Pickett "La Bamba" (Traditional/Ritchie Valens) covered by Los Lobos "Desolation Row" (Bob Dylan) covered by My Chemical Romance "Got to Get a Message to You" (The Bee Gees) covered by Swamp Dogg "It's Hard to Be a Saint in the City" (Bruce Springsteen) covered by David Bowie "Higher Ground" (Stevie Wonder) covered by Red Hot Chili Peppers "Both Sides Now" (Joni Mitchell) covered by Neil Daly "Get Down, Make Love" (Queen) covered by Nine Inch Nails "Landslide" (Fleetwood Mac) covered by Smashing Pumpkins "Drive" (The Cars) covered by Britta Phillips "Ol' 55" (Tom Waits) covered by Sarah McLachlan "Love is All Around" (Sonny Curtis/"The Mary Tyler Moore Show") covered by Joan Jett "Stand By Me" (Ben E. King) covered by Playing For Change "It's the End of the World As We Know It (And I Feel Fine)" (R.E.M.) covered by Great Big Sea "Walk This Way" (Aerosmith) covered by Run D.M.C. Additional songs: "I Will Always Love You" performed by Whitney Houston; "I'm a Believer" performed by The Monkeys; "Bring it On Home to Me" performed by The Animals; "Respect" performed by Aretha Franklin; "Losing My Religion" performed by Ryan Starr; "Knockin' On Heaven's Door" performed by Guns 'n Roses; "Over the Rainbow" performed by Israel Kamakawiwo'ole; "Hazy Shade of Winter" performed by The Bangles; "Whole Lotta Love" performed by The Hollywood Vampires; "Gin and Juice" performed by The Gourds; "I Fought the Law" performed by The Clash; "All I Wanna Do (Is Make Love to You)" performed by Halestorm; "You Should Be Dancing" performed by Foo Fighters; "Gold Dust Woman" performed by Hole; "What I Like About You" performed by Poison; "It's All Over Now, Baby Blue" performed by Them; "Romeo & Juliet" performed by The Indigo Girls; "Boys of Summer" performed by The Ataris; "Come On, Eileen" performed by Save Ferris; "You Really Got Me" performed by Van Halen; "I Think We're Alone Now" performed by Tiffany, To hear part 1 of our discussion on Pop Culture Affidavit, click here. Check out Neil's now-classic take on "Both Sides Now" right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Our guest this week is Dr. Christine Henneberg, author of the book Boundless: An Abortion Doctor Becomes a Mother. FFRF Legal Fellow Sammi Lawrence describes some first-amendment legal victories she was involved in, and describes the problems nonreligious seniors have while living in religious nursing homes. After reporting state/church news around the country, we hear the freethinking singer/songwriter Joni Mitchell perform "Both Sides Now."