Podcasts about Buck Owens

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 3ú lá de mí Iúil, liomsa Lauren Ní Loingsigh. I 1981 tharla easaontas leis an CIE agus de bharr sin ní raibh aon mbus I mBaile Átha Cliath don lá sin. I 1992 mharaíodh duine a bhí I ndrong nuair a bhí siad ag argóint faoi airgead. I 2004 bhí Niamh Ryan ó Teampall Doire roghnaithe ó 22 cailín chun a bheith mar an Rós den chontae in Óstán Abbey Court san Aonach Urmhumhan. Chan sí an t-amhrán Templederry My Home. I 2009 tharla tubaiste aeir agus bhí na daoine a raibh ina chónaí I Ros Cré trí chéile de bharr agus tháinig sé amach go raibh cailín ón áit ar an eitleán darbh ainm Aisling Butler. Bhí sí ó Ros Cré agus bhí sí ar Air France nuair a d'imigh sé as radharc thar an tAigéan Atlantach nuair a bhí sé ag dul ón Bhrasaíl chuig Páras. Sin La Roux le Bulletproof – an t-amhrán is mó ar an lá seo I 2009 Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1972 fuair Fred McDowell bás de bharr ailse ag aois 68. Rinne an bhanna cheoil The Rolling Stones leagan de a amhrán You Got To Move ar a albam Sticky Fingers. Bhí sé mar mhúinteoir do Bonnie Raitt ar giotár. I 2001 fuair amhránaí Johnny Russell bás ag aois 61. Scríobh sé Act Naturally agus Rinne The Beatles agus Buck Owens leagan den amhrán. Rinne Jim Reeves, Jerry Garcia, Dolly Parton, Emmylou Harris, agus Linda Ronstadt leagan de a amhráin chomh maith. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Peggy Gou sa Chóiré Theas I 1991 agus rugadh aisteoir Tom Cruise I Meiriceá ar an lá seo I 1962 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 3rd of July, with me Lauren Ní Loingsigh 1981: CIE dispute left dublin without buses on this day. 1992: provo gang victim was killed in cash row. 2004 - TEMPLEDERRY beauty Niamh Ryan was selected from amongst 22 beautiful young ladies at the inaugural Rose of Tipperary 2004, in the Abbey Court Hotel in Nenagh. Niamh performed a recitation of Templederry My Home.  2009 - THE town of Roscrea and surrounding areas were stunned by an air disaster which may have claimed the life of local woman, Aisling Butler. Aisling (26) from Ballinakill, Roscrea was on board an Air France plane which disappeared over the Atlantic Ocean on its way from Brazil to Paris.  That was La Roux with Bulletproof – the biggest song on this day in 2009 Onto music news on this day In 1972 Blues singer, guitarist Mississippi Fred McDowell died of cancer aged 68. The Rolling Stones covered his 'You Got To Move' on their Sticky Fingers album. He coached Bonnie Raitt on slide guitar technique 2001 American singer, songwriter Johnny Russell died aged 61. He wrote 'Act Naturally' covered by The Beatles and Buck Owens. Jim Reeves, Jerry Garcia, Dolly Parton, Emmylou Harris, and Linda Ronstadt had all covered his songs. And finally celebrity birthdays on this day – DJ Peggy Gou was born in South Korea in 1991 and actor Tom Cruise was born in America on this day in 1962 and this is some of the stuff he has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Music behind DJ: The Leemen - "Johnny Guitar" [0:00:00] The Louvin Brothers - "Pitfall" [0:03:57] Eddie Marshall - "(Blue Eyes) How Could You" [0:06:04] Ferlin Huskey - "How Much Are You Mine" [0:08:35] Herb Henson - "Old Jalopy" [0:11:09] Leon McAuliff - "Cozy Inn" [0:13:16] Music behind DJ: The Leemen - "Johnny Guitar" [0:16:04] Jimmy Murphy - "Sixteen Tons Rock and Roll" [0:19:00] The Strikes - "If You Can't Rock Me" [0:21:08] Clint Miller - "Bertha Lou" [0:23:37] Sylvia Mobley - "All By Myself" [0:26:06] Roy Orbison - "Ride Away" [0:28:45] Music behind DJ: The Leemen - "Johnny Guitar" [0:31:28] Marty Robbins - "Ain't Life A Crying Shame" - Devil Woman [0:34:47] Kenny Hart - "Happy Rain" [0:36:29] Tony Treece - "Cry A Waterfall" - Tall Dark Stranger [0:38:15] Davey Holt and The Hubcaps - "You Move Me" [0:40:36] Buck Owens and his Buckaroos - "A Devil Like Me (Needs An Angel Like You)" - Open Up Your Heart [0:42:29] Music behind DJ: The Leemen - "Johnny Guitar" [0:44:50] Johny McGee - "I'll Have The Last Laugh" [0:48:15] Phil Grover - "The Key To Loves Door" [0:50:24] Jody Irvin - "Generation Gap" [0:52:59] Redd Stewart - "Dreaming Again" [0:55:19] https://freeform.wfmu.org/playlists/shows/153737

Music behind DJ: The Leemen - "Johnny Guitar" [0:00:00] The Louvin Brothers - "Pitfall" [0:03:57] Eddie Marshall - "(Blue Eyes) How Could You" [0:06:04] Ferlin Huskey - "How Much Are You Mine" [0:08:35] Herb Henson - "Old Jalopy" [0:11:09] Leon McAuliff - "Cozy Inn" [0:13:16] Music behind DJ: The Leemen - "Johnny Guitar" [0:16:04] Jimmy Murphy - "Sixteen Tons Rock and Roll" [0:19:00] The Strikes - "If You Can't Rock Me" [0:21:08] Clint Miller - "Bertha Lou" [0:23:37] Sylvia Mobley - "All By Myself" [0:26:06] Roy Orbison - "Ride Away" [0:28:45] Music behind DJ: The Leemen - "Johnny Guitar" [0:31:28] Marty Robbins - "Ain't Life A Crying Shame" - Devil Woman [0:34:47] Kenny Hart - "Happy Rain" [0:36:29] Tony Treece - "Cry A Waterfall" - Tall Dark Stranger [0:38:15] Davey Holt and The Hubcaps - "You Move Me" [0:40:36] Buck Owens and his Buckaroos - "A Devil Like Me (Needs An Angel Like You)" - Open Up Your Heart [0:42:29] Music behind DJ: The Leemen - "Johnny Guitar" [0:44:50] Johny McGee - "I'll Have The Last Laugh" [0:48:15] Phil Grover - "The Key To Loves Door" [0:50:24] Jody Irvin - "Generation Gap" [0:52:59] Redd Stewart - "Dreaming Again" [0:55:19] https://www.wfmu.org/playlists/shows/153737

Music behind DJ: The Leemen - "Johnny Guitar" [0:00:00] The Louvin Brothers - "Pitfall" [0:03:57] Eddie Marshall - "(Blue Eyes) How Could You" [0:06:04] Ferlin Huskey - "How Much Are You Mine" [0:08:35] Herb Henson - "Old Jalopy" [0:11:09] Leon McAuliff - "Cozy Inn" [0:13:16] Music behind DJ: The Leemen - "Johnny Guitar" [0:16:04] Jimmy Murphy - "Sixteen Tons Rock and Roll" [0:19:00] The Strikes - "If You Can't Rock Me" [0:21:08] Clint Miller - "Bertha Lou" [0:23:37] Sylvia Mobley - "All By Myself" [0:26:06] Roy Orbison - "Ride Away" [0:28:45] Music behind DJ: The Leemen - "Johnny Guitar" [0:31:28] Marty Robbins - "Ain't Life A Crying Shame" - Devil Woman [0:34:47] Kenny Hart - "Happy Rain" [0:36:29] Tony Treece - "Cry A Waterfall" - Tall Dark Stranger [0:38:15] Davey Holt and The Hubcaps - "You Move Me" [0:40:36] Buck Owens and his Buckaroos - "A Devil Like Me (Needs An Angel Like You)" - Open Up Your Heart [0:42:29] Music behind DJ: The Leemen - "Johnny Guitar" [0:44:50] Johny McGee - "I'll Have The Last Laugh" [0:48:15] Phil Grover - "The Key To Loves Door" [0:50:24] Jody Irvin - "Generation Gap" [0:52:59] Redd Stewart - "Dreaming Again" [0:55:19] https://www.wfmu.org/playlists/shows/153737

Music behind DJ: The Leemen - "Johnny Guitar" [0:00:00] The Louvin Brothers - "Pitfall" [0:03:57] Eddie Marshall - "(Blue Eyes) How Could You" [0:06:04] Ferlin Huskey - "How Much Are You Mine" [0:08:35] Herb Henson - "Old Jalopy" [0:11:09] Leon McAuliff - "Cozy Inn" [0:13:16] Music behind DJ: The Leemen - "Johnny Guitar" [0:16:04] Jimmy Murphy - "Sixteen Tons Rock and Roll" [0:19:00] The Strikes - "If You Can't Rock Me" [0:21:08] Clint Miller - "Bertha Lou" [0:23:37] Sylvia Mobley - "All By Myself" [0:26:06] Roy Orbison - "Ride Away" [0:28:45] Music behind DJ: The Leemen - "Johnny Guitar" [0:31:28] Marty Robbins - "Ain't Life A Crying Shame" - Devil Woman [0:34:47] Kenny Hart - "Happy Rain" [0:36:29] Tony Treece - "Cry A Waterfall" - Tall Dark Stranger [0:38:15] Davey Holt and The Hubcaps - "You Move Me" [0:40:36] Buck Owens and his Buckaroos - "A Devil Like Me (Needs An Angel Like You)" - Open Up Your Heart [0:42:29] Music behind DJ: The Leemen - "Johnny Guitar" [0:44:50] Johny McGee - "I'll Have The Last Laugh" [0:48:15] Phil Grover - "The Key To Loves Door" [0:50:24] Jody Irvin - "Generation Gap" [0:52:59] Redd Stewart - "Dreaming Again" [0:55:19] https://freeform.wfmu.org/playlists/shows/153737

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 3ú lá de mí Iúil, liomsa Lauren Ní Loingsigh. I 1981 tharla easaontas leis an CIE agus de bharr sin ní raibh aon mbus I mBaile Átha Cliath don lá sin. I 1992 mharaíodh duine a bhí I ndrong nuair a bhí siad ag argóint faoi airgead. I 1981 bhí súil ag comhairle contae an Chláir chun píosa den chéad chéim a bheith déanta acu den seachbhóthar roimh dheireadh an bhliain. I 1992 rinne an ghrúpa GPA athnuaite den dúthracht don tSionainn an tseachtain seo. Sin La Roux le Bulletproof – an t-amhrán is mó ar an lá seo I 2009 Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1972 fuair Fred McDowell bás de bharr ailse ag aois 68. Rinne an bhanna cheoil The Rolling Stones leagan de a amhrán You Got To Move ar a albam Sticky Fingers. Bhí sé mar mhúinteoir do Bonnie Raitt ar giotár. I 2001 fuair amhránaí Johnny Russell bás ag aois 61. Scríobh sé Act Naturally agus Rinne The Beatles agus Buck Owens leagan den amhrán. Rinne Jim Reeves, Jerry Garcia, Dolly Parton, Emmylou Harris, agus Linda Ronstadt leagan de a amhráin chomh maith. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Peggy Gou sa Chóiré Theas I 1991 agus rugadh aisteoir Tom Cruise I Meiriceá ar an lá seo I 1962 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 3rd of July, with me Lauren Ní Loingsigh 1981: CIE dispute left dublin without buses on this day. 1992: provo gang victim was killed in cash row. 1981: clareco.council hoped to have land for the first stage of the town by pass purchased by the end of 1981. 1992: The GPA group renewed its commitment to shannon this week. That was La Roux with Bulletproof – the biggest song on this day in 2009 Onto music news on this day In 1972 Blues singer, guitarist Mississippi Fred McDowell died of cancer aged 68. The Rolling Stones covered his 'You Got To Move' on their Sticky Fingers album. He coached Bonnie Raitt on slide guitar technique 2001 American singer, songwriter Johnny Russell died aged 61. He wrote 'Act Naturally' covered by The Beatles and Buck Owens. Jim Reeves, Jerry Garcia, Dolly Parton, Emmylou Harris, and Linda Ronstadt had all covered his songs. And finally celebrity birthdays on this day – DJ Peggy Gou was born in South Korea in 1991 and actor Tom Cruise was born in America on this day in 1962 and this is some of the stuff he has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

 Jukeboxes were not only cultural touchstones and vital engines for the music industry in the forties and fifties, but they also contributed to the democratization of music consumption in a way that radio could not: by allowing people to pay a nickel and choose the exact song they wanted to hear. Radio's best effort was to feed the listener versus allow the listener to make their own choice. Over a half century later, streaming has become juggernaut replacing the jukebox. Like streaming of today, the jukebox once helped with music discovery driving regional hits and elevating lesser-known artists, turning local favorites into national stars. This week's show will be a thematic one and, yes, we're picking the music. But it's a fun and mixed bag of country, early rock and pop all with the jukebox as centerpiece. Drop into Deeper Roots this morning for some classic Bill Haley, Chuck Berry, Roy Orbison and Little Richard from the edgy side of the aisle and be ready for upbeat and swinging country from Ernest Tubb, Buck Owens, and Mel Tillis. Tune in for a show that recognizes this cultural phenomenon and proves the old saw “what is old is new again”. 

Before the grunge movement of the 90's, and before the punk movement of the 70's, there was the garage band phenomenon of the 60's.  One of the forerunners of both punk and grunge from this garage band period is Tacoma Washington's The Sonics.  Their classic lineup consisted of Rob Lind on harmonica, vocals, and sax, Gerry Roslie on organ, piano, and lead vocals, Larry Parypa on lead guitar and vocals, Andy Parypa on bass, and Bob Bennett on drums.  The Sonics had a fast, hard-edged sound similar to The Kinks, and performed with a speed that would inspire punk rock.Boom is their second studio album from the band, released in February 1966.  As with many songs from the mid-60's, all the songs are short.  But with a non to the future punk movement, many songs are even shorter, clocking in at just over 2 minutes.  The Sonics take their name from Boeing, the aviation company also based in Tacoma.  The name of the album is likely a play on words for the "sonic boom," the thunderous sound produced by an aircraft exceeding the speed of sound.  The music on this album is energetic and abrasive, and while some fuzzy guitar distortion is included the overall feel is raw with little extra production.The classic lineup would fall apart by 1968, with members leaving to join other bands, attend college, or in saxophonist Rob Linds' case - become a fighter pilot in the Vietnam War.  Gerry Roslie would be the sole remaining original member with new members jumping in and out of the band until 1980.  Wayne brings us this forerunner of punk and grunge for this week's podcast. CinderellaThe lead-off song from the album was an original piece written by Gerry Roslie.  The lyrics relay a boy meeting a girl at a bar, having a great time drinking and dancing, and just when things start to get going well, the girl is gone by midnight.  He's Waitin'This song starts the B-side of the album, and was also a Gerry Roslie original.  This "boy loses girl" song is not a happy one!  The lyrics reflect the boy's thoughts on being burned by a girl.  Now he is telling her that Satan is waiting for her.  "It's too late, you lied, now you will fry." Louie, LouieRichard Berry wrote and performed this song in 1957 with The Pharaohs, and covers of this song are common with garage bands.  The Sonics' version is quite fast, and modifies the pronunciation from "Lou-ee Lou-ee" to "Lou-eye Lou-way" in the chorus.  It is hard to separate this song from the thoughts of fraternity parties and the comedy movie "Animal House." Shot DownThe song that closes out the album laments about striking out when approaching a girl.  "I play a guitar.  I even drive a brand new car.  Big man in town, I've been shot down."  ENTERTAINMENT TRACK:Theme from the motion picture "The Rare Breed"This western starred James Stewart and Maureen O'Hara and was one of the first films scored by the now-legendary composer John Williams. STAFF PICKS:Crying Time by Ray CharlesBruce leads off the staff picks with the lead single and starting track to Ray Charles' album of the same name.  The song was originally performed by Buck Owens in 1964, and Charles kept the country feel while taking the cover to number 6 on the Billboard Hot 100.  He won the Grammy Awards in 1967 for Best R&B Recording and Best R&B Solo Performance for this track.It's a Man's Man's Man's World by James BrownLynch brings us a song that takes its name as a play on the name of a 1963 comedy film, "It's a Mad, Mad, Mad, Mad World."  The minor key track has lyrics decrying the chauvinism of society where all the work of modern civilization are attributed to men, but it would all "mean nothing without a woman or a girl."  Brown recorded the song in only two takes, and it would become a staple of his live shows for the rest of his career.Secret Agent Man by Johnny RiversRob features a surf rock song originally developed as the opening intro to the U.S. spy television series "Secret Agent," which aired from 1964 to 1966. The ditty became popular, and Rivers developed it into a full single.  The song would go to number 3 on the Billboard Hot 100, becoming both a signature song for Rivers and a rock standard for future bands and shows.Lies by The KnickerbockersWayne's closes out the staff picks with a song from an American band deliberately trying to mimic the sound of a British Invasion song.  The trio harmonies definitely give it a Beatles quality.  As you might expect from the band name, the Knickerbockers got their start in New Jersey as a garage band.  The track came together in about a half hour. COMEDY TRACK:The One on the Right is On the Left by Johnny CashThis comedy song about a band with incompatible political leanings amongst its members takes us out for this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Hey y'all! This week we are joined by Idaho singer/songwriter, Heath Owens, the great grandson of Buck Owens. We chat music, future endeavors and more!Follow Heath:WebsiteInstagramFacebookTikTokFollow us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X (Formally Twitter)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hear The Buzz Playlist⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discogs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠

Live from the brand-new Rusco Windows showroom in Fargo, this jam-packed edition of What's On Your Mind delivers a full plate of community energy, tough talk on law enforcement, and some spicy statehouse drama.

Someone once suggested that country songs about heartache and lost love sound the same as country songs about good times and happy days. Is it just the wailing fiddle intro often referred to as the “fiddle kickoff” that neutralizes the emotional jar of joy or grief that causes a reaction like that? Or is it just country songwriting is geared towards the simple task of expressing emotions in the terms of everyday life? No matter the reason, we'll be taking on a country-themed collection of songs about heartaches this week in the show. We'll do this by walking through some of the golden greats from the Golden Age of Country Music where the ways of the heart were a common theme and, thus, the heartache was an easy rhythmic mark for the country songwriter. We'll share the Walkers' Charlie and Billy, Jimmie Skinner, Buck Owens, Lefty Frizzell, Patsy, George and Stonewall among a couple dozen others, all with a message that speaks to country heartaches; and may we also say that there was plenty of fodder to draw from. Drop in…and don't forget the hankies.

This week's show, after a Buck Owens bawl: brand new Dennis Davison, Chatham Rise (with Paula Kelley), Flying Vipers, Salt Collective (vocal: Mitch Easter), Stereolab, Robert Forster, and Wednesday, plus The Beatles, The Final Solution, Scott Walker, B...

Cor Sanne is de man die countrymuziek de credits en het podium al gaf toen de makers van Countrykoorts nog met hun oude heer over de sloot sprongen. Hij haalde ze allemaal naar Nederland: Johnny Cash, Buck Owens, Bill Monroe, Emmylou Harris, Jerry Lee Lewis en vele anderen. Een podcast over ontbijten met Cash, zingen met Harris en gedoe met Buck Owens. Maar ook zijn onvoorwaardelijke liefde voor The Everly Brothers. Hij vernoemde zijn zoon zelfs naar één van de broers. Uiteraard blikt Sanne ook terug op zijn eigen muzikale carrière. Met Dick van Altena, Savannah en de Bluegrass Boogiemen. Hoe al deze verhalen in ruim een uur zijn gevangen? Dat is voor de makers ook een raadsel. Luister en geniet van een bescheiden boerenlul uit Nieuwkoop, die het allemaal toch maar mooi heeft meegemaakt.

Six String Hayride Classic Country Podcast, Episode 57. The Ringo Starr Episode. Ringo Starr, Born Richard Starkey in July 1940, is one of the finest and most influential drummers of the last 65 years. Growing up in post war Liverpool as a Gene Autry and Hank Williams fan, Ringo becomes the drummer for The Beatles and they create one of the greatest catalogues in music history. In 1970, Ringo records Beaucoups of Blues with Pete Drake, Scotty Moore, Jerry Reed, Charlie Daniels, and DJ Fontana. In 2025, Ringo releases LOOK UP with T-Bone Burnett, Billy Strings, Molly Tuttle, Larkin Poe, Alison Krauss and gets inducted into the Grand Old Opry. In the years between these two fine albums, Ringo performs and records with Buck Owens, Carl Perkins, Willie Nelson, Billy Preston, and George Harrison. Chris and Jim discuss Ringo's musical influences, drumming style, and love of Country Music. Chris reviews the new album, LOOK UP and offers up a classic Fish and Chips recipe. Jim discusses Ringo's time in the Beatles and his unique drumming style. Join us on the Six String Hayride Podcast for all your musical needs and beyond.

Welcome to the Filthy Spoon Podcast, hosted by Jon who is flying solo with a fascinating guest. In this episode, Jon dives into a world of music and tradition, discussing the Bakersfield sound with guest Zane Adamo, the lead singer and fiddle player of the band 'The Soda Crackers.' The Soda Crackers are renowned for keeping the spirit of traditional country and Western music alive, particularly the Bakersfield sound, famous due to legends like Merle Haggard and Buck Owens. Join Jon and Zane as they delve into the roots, influences, and the ongoing revival of this iconic genre. Discover the journey of The Soda Crackers, from their formation to their performances at famous venues like Buck Owens' Crystal Palace and upcoming tours. This episode is a celebration of honky-tonk music, its history, and the vibrant community that's still drawn to its unique sound and culture.

Hawkshaw Hawkins - "Nothing More To Say" [0:00:00] Mac Wiseman - "Love Letters In The Sand" [0:08:01] Lonnie Irving - "I Got Blues on My Mind" [0:10:36] Ferlin Husky - "I Really Don't Want To Know" - The Heart and Soul of Ferlin Husky [0:13:00] Rex Zario - "Jukebox Cannonball" [0:15:54] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:18:01] Charlie Gracie - "You Got a Heart Like a Rock" [0:20:40] Ben Hewitt - "I Ain't Givin' Up Nothin' (If I Can't Get Something From You)" [0:22:22] Die Hi-Lites - "Veldskoene (These Boots Are Made For Walking)" [0:24:18] "Big Don" Hargrave - "I Cried" [0:26:56] Orangie Hubbard - "Big Cat" [0:29:58] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:32:01] Mel Tillis - "You Are The Reason" - The Great Mel Tillis [0:35:53] Buck Owens and the Buckaroos - "Close Up the Honky Tonks" - Together Again / My Heart Skips a Beat [0:37:59] Hank Thompson and His Brazos Valley Boys - "Someone Can Steal Your Love From Me" - Breakin' The Rules [0:40:24] Willie Nelson - "San Antonio Rose" - Country Favorites - Willie Nelson Style [0:42:41] Merle Haggard and Bonnie Owens - "Slowly But Surely" [0:44:41] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:47:16] Tommy Zang - "Nashville Blues" [0:49:45] Dianne Holtz - "I Got The Hurt" [0:51:44] Sonny Wright - "Pain Remover" [0:54:34] https://freeform.wfmu.org/playlists/shows/151162

Hawkshaw Hawkins - "Nothing More To Say" [0:00:00] Mac Wiseman - "Love Letters In The Sand" [0:08:01] Lonnie Irving - "I Got Blues on My Mind" [0:10:36] Ferlin Husky - "I Really Don't Want To Know" - The Heart and Soul of Ferlin Husky [0:13:00] Rex Zario - "Jukebox Cannonball" [0:15:54] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:18:01] Charlie Gracie - "You Got a Heart Like a Rock" [0:20:40] Ben Hewitt - "I Ain't Givin' Up Nothin' (If I Can't Get Something From You)" [0:22:22] Die Hi-Lites - "Veldskoene (These Boots Are Made For Walking)" [0:24:18] "Big Don" Hargrave - "I Cried" [0:26:56] Orangie Hubbard - "Big Cat" [0:29:58] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:32:01] Mel Tillis - "You Are The Reason" - The Great Mel Tillis [0:35:53] Buck Owens and the Buckaroos - "Close Up the Honky Tonks" - Together Again / My Heart Skips a Beat [0:37:59] Hank Thompson and His Brazos Valley Boys - "Someone Can Steal Your Love From Me" - Breakin' The Rules [0:40:24] Willie Nelson - "San Antonio Rose" - Country Favorites - Willie Nelson Style [0:42:41] Merle Haggard and Bonnie Owens - "Slowly But Surely" [0:44:41] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:47:16] Tommy Zang - "Nashville Blues" [0:49:45] Dianne Holtz - "I Got The Hurt" [0:51:44] Sonny Wright - "Pain Remover" [0:54:34] https://www.wfmu.org/playlists/shows/151162

Hawkshaw Hawkins - "Nothing More To Say" [0:00:00] Mac Wiseman - "Love Letters In The Sand" [0:08:01] Lonnie Irving - "I Got Blues on My Mind" [0:10:36] Ferlin Husky - "I Really Don't Want To Know" - The Heart and Soul of Ferlin Husky [0:13:00] Rex Zario - "Jukebox Cannonball" [0:15:54] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:18:01] Charlie Gracie - "You Got a Heart Like a Rock" [0:20:40] Ben Hewitt - "I Ain't Givin' Up Nothin' (If I Can't Get Something From You)" [0:22:22] Die Hi-Lites - "Veldskoene (These Boots Are Made For Walking)" [0:24:18] "Big Don" Hargrave - "I Cried" [0:26:56] Orangie Hubbard - "Big Cat" [0:29:58] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:32:01] Mel Tillis - "You Are The Reason" - The Great Mel Tillis [0:35:53] Buck Owens and the Buckaroos - "Close Up the Honky Tonks" - Together Again / My Heart Skips a Beat [0:37:59] Hank Thompson and His Brazos Valley Boys - "Someone Can Steal Your Love From Me" - Breakin' The Rules [0:40:24] Willie Nelson - "San Antonio Rose" - Country Favorites - Willie Nelson Style [0:42:41] Merle Haggard and Bonnie Owens - "Slowly But Surely" [0:44:41] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:47:16] Tommy Zang - "Nashville Blues" [0:49:45] Dianne Holtz - "I Got The Hurt" [0:51:44] Sonny Wright - "Pain Remover" [0:54:34] https://freeform.wfmu.org/playlists/shows/151162

Hawkshaw Hawkins - "Nothing More To Say" [0:00:00] Mac Wiseman - "Love Letters In The Sand" [0:08:01] Lonnie Irving - "I Got Blues on My Mind" [0:10:36] Ferlin Husky - "I Really Don't Want To Know" - The Heart and Soul of Ferlin Husky [0:13:00] Rex Zario - "Jukebox Cannonball" [0:15:54] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:18:01] Charlie Gracie - "You Got a Heart Like a Rock" [0:20:40] Ben Hewitt - "I Ain't Givin' Up Nothin' (If I Can't Get Something From You)" [0:22:22] Die Hi-Lites - "Veldskoene (These Boots Are Made For Walking)" [0:24:18] "Big Don" Hargrave - "I Cried" [0:26:56] Orangie Hubbard - "Big Cat" [0:29:58] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:32:01] Mel Tillis - "You Are The Reason" - The Great Mel Tillis [0:35:53] Buck Owens and the Buckaroos - "Close Up the Honky Tonks" - Together Again / My Heart Skips a Beat [0:37:59] Hank Thompson and His Brazos Valley Boys - "Someone Can Steal Your Love From Me" - Breakin' The Rules [0:40:24] Willie Nelson - "San Antonio Rose" - Country Favorites - Willie Nelson Style [0:42:41] Merle Haggard and Bonnie Owens - "Slowly But Surely" [0:44:41] Music behind DJ: Carmen Mastren - "Art's Medley: Liebestraum Dark Eyes" - Banjorama [0:47:16] Tommy Zang - "Nashville Blues" [0:49:45] Dianne Holtz - "I Got The Hurt" [0:51:44] Sonny Wright - "Pain Remover" [0:54:34] https://www.wfmu.org/playlists/shows/151162

Gurdip's back!!! ...kinda? April Fools! Originally released back in May 2022 on our Patreon, Gurdip demanded to have his say about Terry Stafford and his famous cover of "Suspicion," so Justin obliged and they sat down not just with the single, but Terry's full 1964 album. Released on the Crusader Records label to capitalize on Stafford's surprise Top 5 success with his hit recording of the same name, "Suspicion" featured an array of Elvis-likes from original Brill Building songwriters behind some of Elvis's early '60s material, including Doc Pomus, Ben Weisman, Fred Wise, and Sid Wayne. As you'll hear, evidence strongly suggests that many, if not all, of the songs included were pitched to Elvis for consideration, with several even getting recorded.  Justin also guides us a little further past the album to Stafford's post-Suspicion career, including later singles and more significantly as a songwriter himself, with such hits as Buck Owens' "Big in Vegas" and George Strait's "Amarillo by Morning." Joe W. Specht's short-but-thorough biography "The Life and Music of Terry Stafford" was immensely helpful to finding more information on Stafford's story. It's available as of this posting through Texas State University's website here: https://digital.library.txstate.edu/handle/10877/7519 No foolin' - This "TCBCast Jukebox" is one of our all-time favorites we've done. If you enjoyed this, we've also done bonus episodes about Elvis's musical contemporaries such as Ann-Margret, Johnny Cash, Little Richard, Chuck Berry, The Platters, Dean Martin, Eddie Cochran, Gene Vincent, and many more, with more on the way as exclusive bonus content. Please consider joining up over at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. While we're out this week, Justin and Bec will be back next week with a discussion about "G.I. Blues" - revisiting it, its soundtrack and recording sessions for the first time since literally our third-ever episode of TCBCast!

International Waffle day.  National Medal of Honor day.  Entertainment 1981.  Longest banana split, Georgia US Rep. Hank Johnson fears the island of Guam will tip over if there is too many people, Color TV's went on sale.  Todays birthdays - Aretha Franklin, Bonnie Bedelia, Elton John, Ronnie McDowell, Marcia Cross, Sarah Jessica Parker, Jeff Healey.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/ I really like waffles - The Hungry Food BandKeep on loving you - REO SpeedwagonTexas women - Hank Williams jrMakes no difference now - Cliff Brunars's Texas WandererrsBirthdays - In da club - 50 Cent   http://50cent.com/Respect - Aretha FranklinCrocadile rock - Elton JohnOlder women - ronnie McDowellSex & the city TV themeAngel eyes - Jeff HealeyBakersfield - Buck OwensExit - A woman like that - Johnathon Len   https://johnathanlen.com/countryundergroundradio.com History and Factoids website

Making a Scene Presents an Interview with Miss Georgia PeachMiss Georgia Peach is a country artist hailing from Saint Paul, Minnesota, known for her dynamic blend of traditional country and rock influences. She is signed with Rum Bar Records, a Boston-based label recognized for its dedication to authentic rock and roll. ​Her latest album, "Class Out the Ass," was released on February 14, 2025, and showcases her powerful vocals and passionate performances. The album features a mix of original songs and covers, including a rendition of Buck Owens' "I Don't Care (Just As Long As You Love Me)" and Ira Louvin's "Who Threw Dat Rock?" ​ http://www.makingascene.org

159 - Zach Myers (Shinedown) In episode 159 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with guitarist Zach Myers from Shinedown. In their conversation Zach discusses his love for Buck Owens and his Fender Buck Owens signature Telecaster and Acoustic and his PRS that's Buck Owens themed. Zach tells us about his encounters with Brian Venable from Lucero (episode 100) who's also from Memphis. Zach talks a bit about Shinedowns new album. Zach discusses how he became involved with PRS guitars. Zach tells us about his beginning in Shinedown, starting on bass and eventually moving to guitar… and his hesitation as he was making a lot of money as the guitar tech for 3 Doors Down. Zach walks us through his amp collection which includes two Dumbles. Zach talks about starting guitar at 13 and getting a record deal at the age of 14 then he walks us through his early career and the side projects he's working on now. Zach describes the highlights of his guitar collection and the 10 guitars he wished for as a kid, of which he has 9 and he tells us about the one guitar he's still looking for. He also tells us about his mom's childhood guitar that he recovered in Louisiana. Zach discusses his relationship with Taylor guitars and his new relationship with Martin guitars and the possibility of a Zach Myers signature model. Zach talks about his childhood guitar instructor who's now giving Zach's six year old son guitar lessons. Zach gives his guitar tech Drew Foppe props and discusses how elaborate his Shinedown rig is and the tunings he uses in Shinedown. Zach also touches on his comedy career called “Campfire Astronauts”. To find out more about Zach and Shinedown you can go to their website: shinedown.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #ZachMyers #Shinedown #GibsonGuitar #DrewFoppe #GibsonCustomShop #PRSGuitars #MartinGuitars #FenderCustomShop #GuitarHero #Shredder #theDeadlies #haveguitarwilltravelpodcast #hgwt #HGWT . . . Please like, comment, and share this podcast! Download Link

Here at The Loudini Rock & Roll Circus podcast we love horror films and we love great rock and metal. Put the two together and it you  have two great tastes that taste great together. For this years Halloween "Spook-tacular" we will take you on a haunted tour of some of our favorite horror sound tracks that feature great rock and metal bands   What we did this week:   Lily: Kennywood, Disney on ICe,   Loudini: Azrael, Snakes on a plane Retrospective (Minty), Joe Brown on Ike & Tina (Art of Dialogue), Bands shooting themselves in the foot with YouTube (Rock Feed), The early days of MTV (polyphonic), Japanese words that Americans don't understand (Mrs Eats), Adams Family Retrospective (Minty), Joe Rogan OMG!, R.I.P. Phil Lesh & Teri Gar, A.I. and Loudini   1. Trick or Treat (1986) Synopsis: Eddie Weinbauer, a high school outcast and heavy metal fan, discovers that his favorite rock star, Sammi Curr, has died in a mysterious fire. When he plays one of Curr's unreleased albums backward, he unwittingly resurrects the rocker as a supernatural force seeking revenge. Soundtrack: The soundtrack features Fastway, a British rock band that composed most of the music for the film, giving it an authentic 80s heavy metal vibe. Background: This cult classic explores themes of rebellion and the "Satanic Panic" of the 1980s, with cameo appearances by rock icons Ozzy Osbourne (playing a conservative talk show host) and Gene Simmons. 2. Queen of the Damned (2002) Synopsis: Based on Anne Rice's novel, this film follows vampire Lestat, who awakens from slumber to become a rock star, attracting the attention of other vampires and the ancient Queen Akasha, who wishes to rule alongside him. Soundtrack: Korn's Jonathan Davis worked with composer Richard Gibbs to produce tracks, with contributions from bands like Disturbed, Deftones, and Marilyn Manson. Background: The soundtrack was a defining feature, creating a unique, moody soundscape that reflects the gothic and seductive qualities of Rice's vampire world. 3. The Crow (1994) Synopsis: Eric Draven, a musician, returns from the grave to avenge his and his fiancée's murder on the night before Halloween. Guided by a mystical crow, he confronts the killers in a stylized, gritty urban landscape. Soundtrack: The dark and atmospheric soundtrack includes Nine Inch Nails, The Cure, Rage Against the Machine, and Stone Temple Pilots. Background: The Crow became iconic, partially due to its haunting soundtrack, and remains influential for its combination of rock music with the film's themes of love, vengeance, and loss. 4. Bride of Chucky (1998) Synopsis: Killer doll Chucky is resurrected by his former lover, Tiffany. After a ritual goes awry, she's trapped in a doll's body as well. Together, the murderous dolls embark on a chaotic journey to find new bodies. Soundtrack: The edgy soundtrack features Rob Zombie, Slayer, Judas Priest, and Type O Negative. Background: Known for its dark humor, Bride of Chucky refreshed the Child's Play series, and its soundtrack added a gritty, punk-rock feel to the horror-comedy. 5. Return of the Living Dead (1985) Synopsis: When a chemical leaks at a medical supply warehouse, it causes the dead to rise and wreak havoc in a nearby town. A group of punk teens finds themselves at the center of the chaos. Soundtrack: The punk-driven soundtrack includes The Cramps, T.S.O.L., and 45 Grave. Background: Blending punk culture with zombie horror, this film is notable for its humor, gore, and punk soundtrack, which complements its rebellious, chaotic spirit. 6. Demon Knight (1995) Synopsis: A mysterious drifter named Brayker seeks refuge in a rundown hotel while being pursued by a demonic entity called The Collector, who wants a relic Brayker holds. Soundtrack: The soundtrack includes Pantera, Megadeth, and Ministry. Background: Part of the "Tales from the Crypt" film series, this movie's soundtrack and horror-action elements captured a blend of supernatural horror with hard-hitting rock. 7. Freddy vs. Jason (2003) Synopsis: Freddy Krueger and Jason Voorhees, two iconic killers from horror franchises, come face-to-face in a battle, with teens caught in the crossfire. Soundtrack: The soundtrack features Ill Nino, Slipknot, Sepultura, and Spineshank. Background: Featuring a high-energy soundtrack, this crossover slasher appealed to metal fans and is known for its adrenaline-filled music. 8. House of 1000 Corpses (2003) Synopsis: Two couples on a road trip through rural America stumble upon a bizarre museum run by a man named Captain Spaulding. Their curiosity leads them into the lair of the Firefly family, where terror and madness unfold. Soundtrack: The soundtrack, curated by director Rob Zombie, includes songs by Zombie himself along with Buck Owens and The Ramones, adding a gritty, Southern rock vibe. Background: Rob Zombie's directorial debut is heavily influenced by grindhouse films and 1970s horror. The music complements its chaotic and disturbing tone, with Zombie's own tracks amplifying the twisted atmosphere. 9. Resident Evil (2002) Synopsis: Alice, an amnesiac security operative, teams up with a group of commandos to investigate a deadly virus outbreak in a high-tech facility known as The Hive. Their mission pits them against reanimated corpses and mutated creatures. Soundtrack: The soundtrack features Slipknot, Marilyn Manson, and Coal Chamber, creating an industrial, high-energy backdrop for the action-horror elements. Background: Known for its intense action sequences and blend of horror with sci-fi, the soundtrack's industrial metal sound contributes to the futuristic, menacing feel of the film. 10. Dracula 2000 (2000) Synopsis: In this modern adaptation, Dracula is accidentally revived in New Orleans, where he targets the daughter of the man who once tried to contain him. The story intertwines classic vampire lore with contemporary themes. Soundtrack: Featuring bands like Pantera, Slayer, System of a Down, and Linkin Park, the soundtrack is heavy with rock and metal tracks. Background: This retelling of the Dracula story embraces a darker, edgier approach, with a soundtrack that enhances its themes of immortality and rebellion against tradition.   New & Notable:   Loudini: Trope; Planes Lily: Blacklist Union; Hey Mr. Superstar

It was without question a natural progression. All of the attributes that country inherited from gospel, blues, and jazz resulted in what amounted to competition in the charts (and in some mid-century cultural clashes). Although The Beatles had suggested a kinship with mid-sixties tributes to Buck Owens and Chet Atkins, the only comfortable way to make the marriage work was to have it come from other directions…specifically from cultural prods of Nudie suits, coupled with folk and country nudges, and the inevitable respect for the music. Gram Parsons' influence on the late sixties rise of something they called ‘country rock' is easy to find but Dylan's John Wesley Harding album from 1968, The Byrds' Sweetheart of the Rodeo, and Leon Russell's alter-ego Hank Wilson opened the doors to a sound that swept the charts. We'll hear some originals, covers, and a whole lot more in this week's Deeper Roots. Hope y'all can join us.

Linda Dröfn Gunnarsdóttir, framkvæmdastýra Kvennaathvarfs, komst í desember á lista breska ríkisútvarpsins BBC yfir 100 áhrifamestu konur heims árið 2024. Linda segir að hún geti ekki neitað því að hún hafi verið hissa þegar hún heyrði af þessu, hún segist vera sett á listann sem málsvari Kvennaathvarfsins og að hún standi á herðum þeirra kvenna sem stofnuðu athvarfið árið 1982. Linda kom í þáttinn og sagði frá starfsemi Kvennaathvarfsins, hver sérstaða þess er, hver þróunin hefur verið frá stofnun, stöðunni í dag og byggingu nýs athvarfs sem verður tekið í gagnið á næsta ári. Við höfum farið vítt og breitt um hollustuheima í janúar og fengum beiðni frá hlustanda um að fjalla um hráfæði í þættinum. Sigurlína Davíðsdóttir, prófessor emeritus, kom í þáttinn en hún hefur verið á hráfæði frá árinu 2001 og sagði okkur frá sinni reynslu og hvernig er gott að taka fyrstu skrefin í að breyta yfir í hráfæði. Í lokin vorum við með lítið tónlistarhorn þar sem við spiluðum þrjú lög sem leikurar sem leika í sjónvarpsþáttunum um Vigdísi syngja. Þetta voru lögin Í garðinum heima sem Elín Hall syngur, en hún leikur yngri útgáfuna af Vigdísi í þáttunum. Svo var það lagið Fólkið í blokkinni sem Eggert Þorleifssonsyngur, en hann leikur föður Vigdísar í þáttunum. Og að lokum var það lagið Söngu Gullauga, sem Hanna María Karlsdóttir syngur, en hún leikur móður Vigdísar í þáttunum. Og til að bæta aðeins við tenginguna þá léku þau Eggert og Hanna María saman í söngleiknum Gretti, en bæði lögin sem þau sungu eru úr þeim söngleik. Tónlist í þættinum í dag: Það þarf fólk eins og þig / Rúnar Júlíusson (Buck Owens, texti Rúnar Júlíusson) Í fylgsnum hjartans / Hildur Vala Einarsdóttir (Ástvaldur Traustason, texti Stefán Hilmarsson) Í garðinum heima / Elín Hall (Elín Hall) Fólkið í blokkinni / Eggert Þorleifsson (Ólafur Haukur Símonarson) Söngur Gullauga / Hanna María Karlsdóttir (Egill Ólafsson-Þórarinn Eldjárn) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

While we often touch on the contemporary songs of our own and subsequent generations in the show, we also like to drill into the performers and sounds that contributed to our musical heritage. The foundation of America's music is not just a single flavor. It is a melting pot of many from all corners: the British Isles, the African continent, the islands of the Caribbean, and points south and north. The resulting harmonies, topics, and musical celebrations have further woven themselves into the fabric of our culture. This week's show leans on some pieces that were suggested by a listener and this allowed me to take liberties when digging a bit deeper for the show. We'll hear from Pete Seeger, The Million Dollar Quartet, Buck Owens, Alison Krauss and Mississippi Fred McDowell. We'll also take in the American Songbag's In The Pines and then proceed down the river and over the hill in the show this week.

Brady Evan is a singer, songwriter, and guitarist whose music evokes the golden era of classic country and honky-tonk. With a voice steeped in soulful, southern charm and a guitar style rooted in tradition, he channels the spirit of legends like Hank Williams, George Jones, and Buck Owens. Whether performing solo with his trusty acoustic guitar or fronting his five-piece band, Brady's performances capture the energy and grit of honky-tonk bars, where the whiskey flows and the jukebox never stops playing. With an unyielding commitment to the music that inspired him, Brady Evan is a torchbearer for country's timeless tradition, keeping the heart of honky-tonk alive, one song at a time.

Drex and Alisa have a chat with Donnie Evetts and Bob Brewer about their musical backgrounds also their roles in the Lyric's Hee Haw Christmas production.

Earlier this year, I did an episode on the Buck Owens "American" guitars made by Harmony from 1969-1971. Mine was in pretty good condition, but missing its headstock overlay, and having survived a neck break. The day after I released that show, the head broke off again on its own. With learning there was a major structural issue, I turned to a Harmony restoration specialist, Dan Lambert, of El Paso, Texas. Dan had to rebuild the neck and extensively repair the headstock. Today we look at all the repairs and upgrades he did to the instrument, including recontouring the original ladder braces.Dan will be posting videos showing the repair process on this guitar on his YT channel.Dan Lambert's Youtube Channelhttps://www.youtube.com/@danlambertguitar6049/videosFollow me on Instagramhttps://www.instagram.com/askzac/To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch  - https://my-store-be0243.creator-spring.com/#askzac #buckowensSupport the show

Hey guys! This week we have a very special treat. A Christmas Special. How original huh? This one is cool though. I don't know how many people out there know this but I used to totally do a different podcast way back in the day. like a few years ago. It was called creatively enough IseeRobots Radio.    It was basically a music show focused on Golden Age Hip Hop with commercials and other retro weirdness mixed in. It was cool even if nobody really listened. Once a year though I'd flip the script and throw down some Christmas Beats.    This is the second and far superior version of the IseeRobots Christmas Special, the 2013 version. It's great, really if you listen to one Christmas podcast make it this one. I think it's my finest hour. Seriously.    What it is is an hour or so of Christmas music from the likes of Buck Owens or The Jackson Five mixed with some classic Peter Pan Holiday Story records.    I guarantee that you'll like it. It's family friendly and perfect for when you guys are chilling around the house doing family stuff. Give it a shot. What do you have to lose? Nothing but a little time and you stand to gain a lot more! Merry Christmas from us here at the ISR Command Center. 

Blind Faith was a supergroup formed from Cream members Eric Clapton and Ginger Baker, Traffic founder Steve Winwood, and Family bassist/violinist Ric Grech.  Cream collapsed after increasing strife between members, particularly Baker and bassist Jack Bruce.  Traffic went on hiatus, and Winwood began jamming with Clapton in his basement.  Baker sat in on a session shortly after they moved to Traffic's rehearsal space in Berkshire, and was added to the lineup after some reluctance from Clapton was overcome.  Finally, Grech was invited to join, and  left the Family in the middle of a U.S. tour, creating understandable grievances.  The group created blues-oriented and psychedelic rock for their eponymously named Blind Faith debut album.  A summer tour was launched, but it was a challenging thing.  Clapton didn't want to do long jam sessions on the tour, but their single album was not a lot of material for a concert.  As a result, they wound up playing a significant amount of Cream and Traffic songs.  This delighted the audience, but irritated and distanced Clapton.  Despite great buzz from critics and fans alike, the group was destined to only last a few months.  Clapton began drifting away while on tour, spending more time with opening act Delaney & Bonnie.  He would eventually join that group prior to launching Derek & the Dominos.  Ginger Baker would move on to form Ginger Baker's Air Force, bringing in Winwood and Grech for a short stint before Winwood rejoined Traffic.  Rob brings us this short-lived supergroup in this week's podcast. Had to Cry TodayThe title track dispenses with the 3-minute single format in favor of a long form jam written by Steve Winwood.  The lyrics are ambiguous, and could reference a dying relationship, or perhaps a friend drifting away.Can't Find My Way HomeWinwood also wrote this well-known single from the album, covered by a number of artists including Joe Cocker, Alison Krauss, and Bonnie Raitt.  Winwood has been asked about the meaning of the lyrics, but has said that discussing song lyrics is a little like explaining a joke - it doesn't add anything to the experience.  Clapton leaves his electric guitar in favor of a rare acoustic one for this song.Well All RightThis track is the only one not written by members of Blind Faith.  Buddy Holly, Norman Petty, Jerry Allison, and Joe B. Mauldin wrote this song, and Holly sang it in 1958.  Clapton takes lead vocal duties on this song.Sea of JoyA piece of Winwood's writing also leads off side two of the album.  While some believe the song references hallucinogens, a simpler meaning would be simply the joy of being on the water.  “And I'm feeling close to when the race is run.  Waiting in our boats to set sail.  Sea of joy.” ENTERTAINMENT TRACK:Pfft You Were Gone (from the variety show “Hee Haw”)This country comedy and music show premiered on CBS in this month.  Buck Owens and Roy Clark led an ensemble of regulars and guests in this variety show. STAFF PICKS:These Eyes by The Guess WhoWayne starts out the staff picks with a song co-written by lead singer Burton Cummings and lead guitarist Randy Bachman.  This was their breakout song, with lyrics that describe the devastating feeling in the days following a long relationship break-up.Badge by CreamLynch reminds us that while Cream may have disbanded by this time, their music was still on the charts.  Eric Clapton and George Harrison wrote this song.  It was supposed to be called "Bridge," but was named "Badge," due to a misreading of the handwritten title.  George Harrison plays rhythm guitar, credited as "D'Angelo Misterioso" to avoid contractual issues.Oh Happy Day by the Edwin Hawkins SingersBruce features the first gospel song to hit the charts, reaching number 4 on the US singles chart.  Edwin Hawkins took a hymn originally written by Phillip Doddridge in 1755, and updated it with a piano introduction inspired by Sergio Mendes and lyrical improvisations influenced by James Brown. See by The Rascals Rob finishes the staff picks with the fuzzy lead off and title track to the Rascals sixth studio album.  Between 1966 and 1968, the Rascals released a number of soul-inspired singles.  This album marked a change in the band's focus from blue-eyed soul to psychedelic rock. COMEDY TRACK:Gitarzan by Ray StevensOne of the earliest comedy singles from Stevens closes out our podcast this week. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Alan Jackson takes the Lovable Loser through a 12-bar blues romp complete with lighthearted fun, virtuoso solos, and even some poetic justice, in his 1995 hit "I Don't Even Know Your Name". But is it more George Jones this time, or Buck Owens?

Legendary drummer Willie Cantu is on the show today, the sole surviving member of the ultimate lineup of one of the greatest ensembles of all time - Buck Owens' Buckaroos. I've talked about the Buckaroos on this show a number of times - they keep coming up in discussions with various folks, and I'll say it again that I think that mid to late 60's lineup is as electrifying a band as any band of that era, no matter what genre. That lineup of Buck, Willie on drums, Don Rich on guitar, fiddle and vocals, Tom Brumley on steel and Doyle Holly on bass were like a finely tuned Ferrari in their heyday. They looked slick and they played and sang like no one else, anywhere. Songs like “Together Again”, “I Don't Care”, “Open Up Your Heart”, “Sam's Place” and so many classic albums defined the sound of Bakersfield country which was in stark contrast to the smooth sounds coming out of Nashville in those days. Their influence can be heard directly on everyone from the Beatles to CCR, Gram Parsons to Dwight Yoakam. Willie is an accomplished jazz drummer, and while he was in one of the great country bands of all time, it's very evident that jazz is his real love. He's from Corpus Christi, Texas, and joined the Buckaroos when he was 17 in 1964. We had an epic visit and I did have to edit it way down, even though this sucker still clocks in at about 2 hours. Maybe we'll do a part 2 somewhere down the line! For some essential listening, be sure to check out the 2 Buck Owens live albums that feature Willie - The Carnegie Hall Concert and Live in Japan! They are both amazing documents of a band in their prime. After the Buckaroos, Willie has been involved in some very interesting jazz and improvisational music, which you can check out here. Willie doesn't have a website and is being more selective about his gigs these days, but if you're in Nashville, keep your ear to the ground and maybe you'll catch him playing at a jazz club or Robert's Western World. you never know! So now, please enjoy my conversation with Willie Cantu!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodesThe show's website can be found at www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.

Ever wondered how the Bakersfield sound continues to shape modern country music? Join us as we chat with Cody Bartels, a musician on a mission to keep this iconic sound alive. Cody shares his journey from rocking out in punk and metal bands to embracing his country roots, drawing inspiration from legends like Buck Owens and Merle Haggard. We also dive into how contemporary artists like the Red Clay Strays and producers like Dave Cobb motivate him to blend the classic with the contemporary, creating a sound that resonates with both past and present.On a more personal note, Cody opens up about the challenges of pursuing a solo music career and the rollercoaster of finding dedicated band members in today's scene. With valuable support from fellow artists like Aaron Crawford and Andy Schaffner, he's managed to build a community that cherishes live music and mentorship. We celebrate the dynamic country music scene in the Pacific Northwest, spotlighting talents like Leah Justine and Joel Gibson Jr., and stress the crucial role authenticity and live performances play in cultivating a loyal fan base.Throughout the episode, we explore compelling personal stories, such as the transition from rodeo dreams to music aspirations, underscoring the power of perseverance and following one's heart. Our candid discussion critiques the mainstream Nashville sound, advocating for genuine expression and artistry in music. From regional influences across Idaho, Wyoming, and Texas to tour plans and musical inspirations, this episode is a heartfelt homage to the enduring charm of authentic country music and the myriad paths artists take to leave their mark.Cody BartelsInstagram: @thecodybartelshttps://www.instagram.com/thecodybartels?igsh=MWxlYWZxa3c0bWZmYg==Shoutout to:Cody BartelsAlter Ego Ambassador: https://alteregorunning.com/Miles & Mountains Promo Code: Milesmountainsyr3Send us a text

Send us a textHard to believe that it was in the 60s that these incredible artists really started hitting. Think back,,,,, sit back,,, and enjoy ROGER MILLER, PATSY CLINE, DON GIBSON, SKEETER DAVIS, BUCK OWENS, GEORGE JONES,EDDIE ARNOLD, JACK GREEN and even WALTER BRENNAN. Please share with someone who loves country music. 

In this episode we're joined by NME legend Chris Salewicz, author of acclaimed books about Bob Marley, Joe Strummer and others. We hear about our guest's boyhood in Yorkshire — and about the first gig he ever saw: the Beatles in Leeds in 1963 (followed in rapid succession by the Rolling Stones — plus a young David Bowie — in Huddersfield). Chris then describes how a move to London in the early '70s led to getting his foot in the door at Let It Rock and then, in 1974, at the indispensable New Musical Express. Discussion of the culture at the NME — sprinkled with yarns about such colleagues as Mick Farren,  Tony Tyler and Tony Stewart — prompts recollections of Chris' interviews with Jimmy Page (in 1977) and Prince (in 1981)... and culminates in the moment he opted to quit the paper for pastures new. A digression on Supertramp's 50-year-old Crime of the Century sparks a passionate defence of that unfairly maligned ensemble by 28-year-old Jasper Murison-Bowie. Jumping forward to the 21st century, we hear wonderful clips from Gavin Martin's 2006 audio interview with the youngest member of the "27 Club" series Chris collected in his 2015 book Dead Gods. Our thoughts on the astounding talent and tragically short life of Amy Winehouse then follows. After Mark quotes from newly-added library pieces — Val Wilmer's 1967 interview with free-jazz trailblazer Archie Shepp; Mick Brown's 1975 encounter with Bakersfield country icon Buck Owens – Jasper concludes the episode with his thoughts on a piece about "hip hop's Mozart" J Dilla (2011). Many thanks to special guest Chris Salewicz. For more Chris and info about all his books, visit chris-salewicz.com. Pieces discussed: The Gig Interview: Jimmy Page, The Clash: Clash On Tour, Bob Marley: A Day Out At The Gun Court, Prince, Supertramp: Crime Of The Century, Supertramp: To Concept Or Not To Concept?, Supertramp: The Taking of America by Strategy, Supertramp: Is This Really The Most Fun You Can Have With a Washing-Up Glove?, Amy Winehouse audio, Archie Shepp, Buck Owens and J Dilla: The Mozart of Hip-Hop.

Get ready to celebrate Halloween with a country twist! Here's three hauntingly fun country songs to play on guitar that will have you tapping your boots and getting into the Halloween spirit!  In this episode, Marlene dives into the spooky spirit of the season as she explores Howlin' at the Moon by Hank Williams, Bones by Little Big Town, and Monster's Holiday by Buck Owens.   Links for past Halloween episodes that Marlene mentioned: October 26, 2023  October 27, 2022 October 21, 2021 Start Your Free 7-day YoGuitar Video Library Trial! Join our Guitar Tips Community TODAY! Our next community jam session is 11/20, don't miss out! Marlene's Guitar Courses & Learning Resources YoGuitar Video Library Learn to Play Guitar in a Day!  Coaching Sessions Marlene's Tips For Guitar Playing Success book Thursday Tips blog Thank you to our sponsor! GatorCo.com   Available on... @applepodcasts @applemusic @spotify @spotifypodcasts  #Halloween #Halloweensongs #spooktacularsongs #Halloweencountrysongs #HowlinattheMoon #Bones #MonstersHoliday #guitar #learnguitar #playguitar #guitartips #guitarpodcast  Credits: Creator, Host, Producer: Marlene Hutchinson This podcast was made possible in part by: Gator Cases I Create Sound - For help getting your best sound go to www.icreatesound.com

Six String Hayride Podcast Episode 48. Women of the West, Patsy, Rose, and Wanda. Patsy Montana (October 30, 1908 – May 3, 1996), Rose Maddox,(August 15, 1925 – April 15, 1998), Wanda Jackson (born October 20, 1937) three pioneering singers, songwriters, fiddle, and guitar players who broke down barriers for women musicians while creating some truly great music. Patsy is the first female country artist to sell one million copies of a record, I Want to be a Cowboy's Sweetheart (1935). Rose pioneers a human firecracker style for a singer fronting a band before Mick Jagger or Tina Turner and creates the Western Style of stage outfits that would inspire Buck Owens and Gram Parsons. Wanda Jackson writes some hit songs and becomes the first female star of Rockabilly and Rock and Roll while making fine country records and graduating High School all at the same time. Impressive women musicians and entertainers who would influence the likes of Emmylou Harris, Rosanne Cash, and Joan Jett. Jim and Chris offer up a hot Buffalo Chicken Pasta Recipe and the usual Hayride Shenanigans. Join us for Episode 48, wherever you get podcasts, we are there.

Send us a Text Message.I'm thinking that at least about 75% of our country songs are inspired by feelings having to do with love whether its good or bad. Hope you enjoy RANDY TRAVIS, EDDIE ARNOLD, HANK WILLIAMS, PATSY CLINE, DOLLY, SAMMI SMITH and many more. Hey , GEORGE JONES and BUCK OWENS even do a duet. Enjoy and please share with someone you love.

In this lively episode of Friends Talking Nerdy, hosts Professor Aubrey and Tim the Nerd delve into their current musical fascinations, each sharing five songs that are resonating with them personally. Their eclectic playlist features an array of artists, including Daft Punk with Pharrell Williams, Panjabi MC, The Rolling Stones, The Beatles, Girl Talk, Accept, Deep Purple, Warren Zevon, Bob Dylan, and Buck Owens and his Buckaroos. Tune in to discover why these tracks have captured their imaginations and find the full playlist on YouTube Music. Professor Aubrey takes listeners on a vibrant journey through her experiences at the 2024 Oregon Country Fair. She shares her insights on the event's unique atmosphere, eclectic performances, and the sense of community that makes the fair a beloved tradition. Tim the Nerd reflects on the recent passing of several iconic figures in pop culture: Shelly Duvall, Richard Simmons, Dr. Ruth Westheimer, and Shannon Doherty. He explores their lasting impact and celebrates their contributions to entertainment, fitness, sexual health education, and television. Join the conversation as they honor these influential personalities and discuss their enduring legacies. As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Support our sponsor, Coffee Bros. Head to their ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and when you make an order, put in promo code FTN10 to save 10% on your order. Head to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online. Friends Talking Nerdy is a proud member of the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Deluxe Edition Network⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Head to their website to find out more information about all the shows available on the Network.

On this episode of Tent Show Radio, experience a heartwarming presentation of Glen Campbell's biggest hits and the stories behind them, delivered by the music legend's band leader and guitarist of 15 years, Jeff Dayton. Nashville artist Jeff Dayton's career is a success story built on hard work, faith and professionalism. The Minnesota native grew up heavily influenced by the music of guitar greats like Eric Clapton, Jerry Reed, Jimi Hendrix and, naturally, Glen Campbell. He formed the Jeff Dayton Band in Phoenix, Arizona in 1980. With a regional #1 hit under his belt, they opened shows for countless artists and major tours that passed through the city, eventually catching the eye of Glen Campbell who would quickly change his career forever. Dayton became Glen Campbell's right-hand man, spending 15 years as the legendary musician's guitarist and band leader. From the 1980's to the 2000's, they toured around the world and across all 50 states, performed at the White House, and appeared together on The Today Show and Glen's PBS special with the South Dakota Orchestra. In the years that followed, Dayton had the honor of backing artists including Vince Gill, Willie Nelson, Toby Keith, Buck Owens, Tracy Byrd, Bo Diddley, Dizzy Gillespie, Gene Autry, Mac Davis and would tour with megastar Kenny Chesney, Lee Greenwood, Sarah Darling, Tammy Cochran and others. After Glen Campbell's passing in 2017, Jeff got so many requests for a show of the icon's music that he launched “Salute to Glen Campbell,” an intimate, upbeat presentation of his hits and the first-person stories of their years together. Dayton has created a truly uplifting and sentimental first-person tribute to one of the greatest artists of all time; he shares the stories behind the songs, the records Glen played on as a member of the Wrecking Crew in his LA studio days, and of course, some of Campbell's classic country humor. Jeff Dayton continues to lead the band, which includes original drummer Tom Benton, as they perform to sold-out crowds across the country, playing hits like “Wichita Lineman,” “Gentle On My Mind,” “Rhinestone Cowboy,” and all the rest, just as they were performed with Glen Campbell.       EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/  Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/  Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism  The Bayfield Inn - https://bayfieldinn.com/  Cable Area Chamber of Commerce - https://www.cable4fun.com/  SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/ 

The Moneywise Radio Show and Podcast Wednesday, July 3rd BE MONEYWISE. Moneywise Wealth Management I "The Moneywise Guys" podcast call: 661-847-1000 text in anytime: 661-396-1000 website: www.MoneywiseGuys.com facebook: Moneywise_Wealth_Management instagram: MoneywiseWealthManagement Guest: Allyn Medeiros, NMLS #214606 website: Allyn_Medeiros    

Chuck Gay, a musician, writer and actor, joins Leah to introduce her to Buck Owens and the Buckaroos. Chuck can be seen in Elvis of the Yukon (as Elvis) written by guest Pam Mandel and produced by Amy Guth. Keep up with Chuck online Instagram @charlespgay Facebook @chuckgaymusic ChuckGayMusic.com Show Notes Elvis of the Yukon: https://www.imdb.com/title/tt30797208/ Buck Owens: https://en.wikipedia.org/wiki/Buck_Owens The Buckaroos: https://en.wikipedia.org/wiki/The_Buckaroos Hee Haw: https://en.wikipedia.org/wiki/Hee_Haw Carnegie Hall Concert: https://open.spotify.com/album/37k1QgDqGNemtteDpQ2jcU Don Rich: https://en.wikipedia.org/wiki/Don_Rich Buck Owens and Don Rich singing "Tiger by the Tail": https://www.youtube.com/watch?v=u63NdYPMxrw Dwight Yoakam: https://www.dwightyoakam.com/ "Streets of Bakersfield" performed by Dwight Yoakam with Buck Owens: https://open.spotify.com/track/7bKqtOF02nEDUImWZqq5nH Bumbershoot music festival: https://bumbershoot.com/ Buck Owens performs "The Streets of Laredo" live at Carnegie Hall (1966): https://open.spotify.com/track/0MjHswdGtDI1msQ49fWDYa John Prine: https://www.johnprine.com/ "I've got a Tiger by the Tail": https://open.spotify.com/track/464fUpkgSEPH1onUGoW8Kt "Love's Gonna Live Here": https://open.spotify.com/track/722NCABmmKoHNQaX2VHoX3 "Together Again": https://open.spotify.com/track/5uGMzzZW2XxHvSziwt9T3y "Cryin' Time": https://open.spotify.com/track/4UCCm4l4YTTeEYuaAzUdOs "Second Fiddle": https://open.spotify.com/track/3JO1cq3Ex5DbfQSnMf7Y3i An episode of The Buck Owens Ranch Show on YouTube: https://www.youtube.com/watch?v=jCy-9z6BXJc Buck Owens' Crystal Palace: https://www.buckowens.com/ Blackwing pencils: https://blackwing602.com/ Isernio's chicken breakfast sausage: https://isernio.com/product/chicken-breakfast/ Philadelphia jalapeño cream cheese: https://www.kraftheinz.com/philadelphia/products/00021000007325-spicy-jalapeno-cream-cheese-spread Frank's RedHot hot sauce: https://www.franksredhot.com/en-us/products/franks-redhot-original-cayenne-pepper-sauce Le Creuset cast-iron skillet: https://www.lecreuset.com/signature-skillet-10-1-4-in-chambray/20182026434001.html Heinz Simply ketchup: https://www.heinz.com/products/00013000626095-simply-tomato-ketchup-with-no-artificial-sweeteners Durango Bagel on Instagram: https://www.instagram.com/dgo_bagel/ Dave's Way: A New Approach to Old-Fashioned Success: https://www.amazon.com/Daves-Way-Approach-Old-Fashioned-1991-09-01/dp/B019TLFO7Y Finding Favorites is edited and mixed by Rob Abrazado. Follow Finding Favorites on Instagram at @FindingFavsPod and leave a 5 star rating on Apple Podcasts, GoodPods or Spotify. Got a question or want to suggest a guest? email Leah at FindingFavoritesPodcast@gmail.com Support Finding Favorites by shopping for books by guests or recommended by guests on Bookshop.

Welcome to the LEGENDS: Podcast by All Day Vinyl. In this episode, our host Scott Dudelson sits down with the Grammy-winning producer, guitarist, and bandleader Pete Anderson. We  dive deep into some of Anderson's most impactful productions including his work with Dwight Yoakam, Roy Orbison, Meat Puppets and an incredible story of playing in a band with legendary session drummer Jim Gordon weeks before Gordon tragically killed his mother in 1983. Pete candidly shares tales from his Detroit upbringing where he first discovered his passion for Jazz, Motown R&B, and blues. He talks with enthusiasm about tour experiences, collaborations, and his path from a young Elvis fan to a Grammys winning producer. Pete and go in depth about his career and life with a particular focus on Anderson's early days, playing with Jim Gordon in the Blue Monkey's, meeting Dwight Yoakam and recording iconic albums with Dwight, producing KD Lang, Roy Orbison, Meat Puppets, Buck Owens, Thelonious Monster and others.  Anderson shares incredible stories leading up the current day where he shares info about a new record by George Ducas he just produced, as well as a new book that reveals his producing technique with specific tips. If you like this episode please rate, follow and subscribe.    

This week we present a remastered, re-edited, and re-mixed version of our second-ever episode, all about the great Buck Owens. We discuss his career with his musical partner Don Rich and his band The Buckaroos, plus his massive influence on country and rock music. We add his song "Act Naturally" to our Ultimate Country Playlist, which was not only a No. 1 Country hit for Buck, but was famously covered by The Beatles, as well as other artists like Loretta Lynn and Charlie Pride.Check out our Patreon!Check out our new merch store!Instagram: @TakeThisPodandShoveItFor everything else click HERE!Want to create your own great podcast? Why not start today! We use BuzzSprout for hosting and have loved it. So we suggest you give them a try as well! Buzzsprout gets your show listed in every major podcast platform, and makes understanding your podcast data a breeze. Follow this link to let Buzzsprout know we sent you—you'll get a $20 credit if you sign up for a paid plan, and it helps support our show.

Joey gets very personal in this episode, but it's not about him! It's about Amy Owens. Amy is the granddaughter of two legendary country musicians, Buck Owens and Merle Haggard. In the early 1960s, Buck and Merle brought the innovative Bakersfield Sound mainstream, eventually becoming one of the most popular sounds in country music history. Their influence gave rise to country rock and helped shape the careers of country stars such as Dwight Yoakam. Amy Owens' family history is a testament to the enduring impact of music.

"Behind the Scenes with Rob Bleetstein: Archiving the Legacy of the NRPS"Larry's guest, Rob Bleetstein, is known for his role as the host of the live concerts on the Sirius XM Grateful Dead station and as the voice of Pearl Jam Radio. In today's episode, he discusses the recently released live album "Hempsteader" by the New Riders Of The Purple Sage (NRPS), where he serves as the archivist and producer.The New Riders of the Purple Sage is an American country rock band that emerged from the psychedelic rock scene in San Francisco in 1969, with original members including some from the Grateful Dead. Their roots trace back to the early 1960s folk and beatnik scene around Stanford University, where Jerry Garcia and David Nelson played gigs together. Influenced by American folk music and rock and roll, the band formed, including Garcia on pedal steel guitar initially.The discussion delves into the background of the NRPS, their albums, and notable tracks like "Panama Red," written by Peter Rowan and popularized by the band. The album "New Riders of the Purple Sage" features Garcia on pedal steel guitar and includes tracks like "Henry," a humorous tale of marijuana smuggling.Throughout the show, various NRPS tracks are highlighted, showcasing the band's eclectic style and songwriting. Additionally, news segments cover topics such as the DEA's agreement to reschedule marijuana and updates from the music industry, including rare concert appearances and tour plans.Overall, the episode provides insights into the NRPS's music, their influence on the country rock genre, and relevant news in the marijuana and music industries. Larry's Notes Rob Bleetstein who many folks know as the host of the three live concerts played every day on the Sirius XM Grateful Dead station.  Also the voice of Pearl Jam Radio. And, most importantly for today's episode, the archivist for the New Riders Of The Purple Sage and the producer of the Hempsteader album. Today, featuring recently released NRPS live album, “Hempsteader” from the band's performance at the Calderone Concert Hall in Hempstead, NY on June 25, 1976, just shy of 48 years ago.New Riders of the Purple Sage is an American country rock band. The group emerged from the psychedelic rock scene in San Francisco in 1969 and its original lineup included several members of the Grateful Dead.[2] The band is sometimes referred to as the New Riders or as NRPS.The roots of the New Riders can be traced back to the early 1960s Peninsulafolk/beatnikscene centered on Stanford University's now-defunct Perry Lane housing complex in Menlo Park, California where future Grateful Dead guitarist Jerry Garcia often played gigs with like-minded guitarist David Nelson. The young John Dawson (also known as "Marmaduke") also played some concerts with Garcia, Nelson, and their compatriots while visiting relatives on summer vacation. Enamored of the sounds of Bakersfield-style country music, Dawson would turn his older friends on to the work of Merle Haggard and Buck Owens and provided a vital link between Timothy Leary's International Federation for Internal Freedom in Millbrook, New York (Dawson having boarded at the Millbrook School) and the Menlo Park bohemian coterie nurtured by Ken Kesey.Inspired by American folk music, rock and roll, and blues, Garcia formed the Grateful Dead (initially known as The Warlocks) with blues singer Ron "Pigpen" McKernan, while Nelson joined the similarly inclined New Delhi River Band (which would eventually come to include bassist Dave Torbert) shortly thereafter.  The group came to enjoy a cult following in Santa Clara and Santa Cruz Counties through the Summer of Love until their dissolution in early 1968.In 1969, Nelson contributed to the Dead's Aoxomoxoa album in 1969.  During this period Nelson and Garcia played intermittently in an early iteration of High Country, a traditional bluegrass ensemble formed by the remnants of the Peninsula folk scene.By early 1969, Dawson had returned to Los Altos Hills and also contributed to Aoxomoxoa.  After a mescaline experience at Pinnacles National Park with Torbert and Matthew Kelly, he began to compose songs on a regular basis working in a psychedelic country fusion genre not unlike Gram Parsons' Flying Burrito Brothers.Dawson's vision was prescient, as 1969 marked the emergence of country rock via Bob Dylan, The Band, The Flying Burrito Brothers, Poco, the Dillard & Clark Band, and the Clarence White-era Byrds. Around this time, Garcia was similarly inspired to take up the pedal steel guitar, and an informal line-up including Dawson, Garcia, and Peninsula folk veteran Peter Grant (on banjo) began playing coffeehouse and hofbrau concerts together when the Grateful Dead were not touring. Their repertoire included country standards, traditional bluegrass, Dawson originals, and a few Dylan covers ("Lay Lady Lay", "You Ain't Goin' Nowhere", "Mighty Quinn"). By the summer of 1969 it was decided that a full band would be formed and David Nelson was recruited to play lead guitar.In addition to Nelson, Dawson (on acoustic guitar), and Garcia (continuing to play pedal steel), the original line-up of the band that came to be known as the New Riders of the Purple Sage (a nod to the Foy Willing-led Western swing combo from the 1940s, Riders of the Purple Sage, which borrowed its name from the Zane Grey novel) consisted of Alembic Studio engineer Bob Matthews on electric bass and Mickey Hart of the Grateful Dead on drums; bassist Phil Lesh also played sporadically with the ensemble in lieu of Matthews through the end of the year, as documented by the late 1969 demos later included on the Before Time Began archival release. Lyricist Robert Hunter briefly rehearsed with the band on bass in early 1970 before the permanent hiring of Torbert in April of that year.[8] The most commercially successful configuration of the New Riders would come to encompass Dawson, Nelson, Torbert, Spencer Dryden (of Jefferson Airplane fame), and Buddy Cage.After a few warmup gigs throughout the Bay Area in 1969, Dawson, Nelson, and Torbert began to tour in May 1970 as part of a tripartite bill advertised as "An Evening with the Grateful Dead". An acoustic Grateful Dead set that often included contributions from Dawson and Nelson would then segue into New Riders and electric Dead sets, obviating the need to hire external opening acts. With the New Riders desiring to become more of a self-sufficient group and Garcia needing to focus on his other responsibilities, the musician parted ways with the group in November 1971. Seasoned pedal steel player Buddy Cage was recruited from Ian and Sylvia's Great Speckled Bird to replace Garcia. In 1977 and 1978, NRPS did open several Dead and JGB shows, including the final concert preceding the closure of Winterland on December 31, 1978.In 1974, Torbert left NRPS; he and Matthew Kelly co-founded the band Kingfish (best known for Bob Weir's membership during the Grateful Dead's late-1974 to mid-1976 touring hiatus) the year before. In 1997, the New Riders of the Purple Sage split up. Dawson retired from music and moved to Mexico to become an English teacher. By this time, Nelson had started his own David Nelson Band. There was a reunion performance in 2001. In 2002, the New Riders accepted a Lifetime Achievement Award from High Times magazine. Allen Kemp died on June 25, 2009.[13][14] John "Marmaduke" Dawson died in Mexico on July 21, 2009, at the age of 64.[15][16]Pedal steel guitarist Buddy Cage died on February 5, 2020, at age 73. (Rob – this is mostly notes for me today so I can sound like I know what I'm talking about.  I'll go through some of it to set some background for the band, but feel free to take the lead on talking about those aspects of the band, and its musicians, that you enjoy most or find most interesting – keeping in mind that our target audience presumably are fans of marijuana and the Dead.)   INTRO:                Panama Red                                Track #1                                Start – 1:49 Written by Peter Rowan “Panama Red” is well known in the jam-grass scene, but it's perhaps not as widely known that Peter Rowan wrote the song.It was originally a 1973 hit for the New Riders of the Purple Sage, and the first popular version with Rowan singing and playing it came when the supergroup Old & In the Way, released their eponymous album in 1975, two years after their seminal time, in 1973, and a year after they disbanded. Jerry Garcia was the connective tissue between the two projects, playing pedal steel in the early New Riders and banjo in Old & In the Way. “I wrote ‘Panama Red' after leaving my first project with David Grisman, Earth Opera, around the summer of the Woodstock music festival [1969],” Rowan explains. “It's a fun song because it captures the vibe of the time. I was from the East Coast, but I found there to be more creativity on the West Coast during that time period.“Nobody wanted to do ‘Panama Red' on the East Coast. I took it to Seatrain [the roots fusion band in which Rowan played from 1969 to 1972], and when it eventually became a hit, the manager of Seatrain claimed it. I never saw any money, even though it became the title of an album for the New Riders of the Purple Sage [1973's The Adventures of Panama Red]. “The subject was "taboo" in those days. You did jail time for pot. So that might have scared commercial interests. But Garcia was a green light all the way! "Oh sure" was his motto, both ironically and straight but always with a twinkle in his eye! After Seatrain management kept all the money, Jerry suggested I bring the song to Marmaduke and Nelson!" “When David Grisman and I got back together for Old & In the Way in 1973 with Jerry Garcia, Vassar Clements and John Khan, we started playing it.”From the NRPS album “The Adventures of Panama Red”, their fourth country rock album released in October 1973. It is widely regarded as one of the group's best efforts, and reached number 55 on the Billboard charts.The album includes two songs written by Peter Rowan — "Panama Red", which became a radio hit, and "Lonesome L.A. Cowboy". Another song, "Kick in the Head", was written by Robert Hunter. Donna Jean Godchaux and Buffy Sainte-Marie contribute background vocals on several tracks.  SHOW No. 1:   Fifteen Days Under The Hood                                Track #41:55 – 3:13 Written by Jack Tempchin and Warren Hughey.  Jack Tempchin is an American musician and singer-songwriter who wrote the Eagles song "Peaceful Easy Feeling"[1] and co-wrote "Already Gone",[2] "The Girl from Yesterday",[3]"Somebody"[4]and "It's Your World Now".[5] Released as the opening song on the NRPS album, “New Riders”, their seventh studio album, released in 1976 SHOW No. 2:   Henry                                Track #6                                1:19 – 3:05 "Henry", written by John Dawson, a traditional shuffle with contemporary lyrics about marijuana smuggling.  From the band's debut album, “New Riders of the Purple Sage”, released by Columbia Records in August, 1971.  New Riders of the Purple Sage is the only studio album by the New Riders to feature co-founder Jerry Garcia of the Grateful Dead on pedal steel guitar. He is also featured on the live albums Vintage NRPS and Bear's Sonic Journals: Dawn of the New Riders of the Purple Sage.Mickey Hart and Commander Cody play drums and piano, respectively, on two tracks—"Dirty Business" and "Last Lonely Eagle".Then, there's a swerving left turn away from romance tunes on this album with ‘Henry‘, whose titular hero has stepped right out of a Gilbert Shelton underground comic.  At a frenetic pace the story of Henry's run to Mexico to fetch twenty kilos of (Acapulco?) gold unravels, with Henry driving home after sampling the wares “Henry tasted, he got wasted couldn't even see – how he's going to drive like that is not too clear to me.”  It's a joke, but a joke that sounds pretty good even after repeat listens.SHOW No. 3:   Portland Woman                                Track #9                                :34 – 2:00 Another Marmaduke tune from the NRPS album released in August, 1971.A bittersweet love song progressing from touring boredom to be relieved by a casual hook-up with the pay-off with the realization that the Portland Woman who “treats you right” has actually made a deeper connection “I'm going back to my Portland woman, I don't want to be alone tonight.”   SHOW No. 4:   You Never Can Tell                                Track #15                                :51 – 2:26 You Never Can Tell", also known as "C'est La Vie" or "Teenage Wedding", is a song written by Chuck Berry. It was composed in the early 1960s while Berry was in federal prison for violating the Mann Act.[2] Released in 1964 on the album St. Louis to Liverpool and the follow-up single to Berry's final Top Ten hit of the 1960s: "No Particular Place to Go", "You Never Can Tell" reached number 14, becoming Berry's final Top 40 hit until "My Ding-a-Ling", a number 1 in October 1972.  Berry's recording features an iconic piano hook played by Johnnie Johnson.  The piano melody was influenced by Mitchell Torok's 1953 hit "Caribbean". The song has also been recorded or performed by Chely Wright, New Riders of the Purple Sage, the Jerry Garcia Band, Bruce Springsteen, the Mavericks, and Buster Shuffle.  JGB performed it almost 40 times in the early ‘90's. The song became popular again after the 1994 release of the film Pulp Fiction, directed and co-written by Quentin Tarantino. The music was played for a "Twist contest" in which Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) competed (and were the only contestants shown in the film). The music added an evocative element of sound to the narrative and Tarantino said that the song's lyrics of "Pierre" and "Mademoiselle" gave the scene a "uniquely '50s French New Wave dance sequence feel".  OUTRO:              Glendale Train                                Track #17                                1:30 – 3:14 Still another Marmaduke tune from the “New Riders of the Purple Sage” album released in late summer 1971.   MJ News:Just one MJ News story today important enough to take a few minutes to talk MJ:  DEA's agreement to reschedule MJ to Schedule 3 from Schedule 1.DEA Agrees To Reschedule Marijuana Under Federal Law In Historic Move Following Biden-Directed Health Agency's Recommendation - Marijuana Moment Benefits:  banking services, no 280(e) restrictions on what expenses retailers can deduct and allows for full medical research of MJ. Negatives:  Still illegal, all drugs on Schedules I, II and III must be prescribed by a licensed health care provider with prescription privileges and can only be dispenses by licensed pharmacists.  Music News:A few quick hits re Music (no real need to get into any of these but I like to see what's going on so I don't miss anything interesting, these are the first things that get cut when we decide we want to keep talking): Jaimoe makes rare public concert appearance with Friends of the Brothers in Fairfield CN, plays ABB hitsJaimoe Takes Part in Rare Public Concert Appearance, Revisits Allman Brothers Band Classics (relix.com) Mike Gordon sits in at the Dodd's Dead Residency at Nectar's in Burlingtron, VT as part of “Grateful Dead Tuesday”.  Plays He's Gone and Scarlet (we have some Phish fans as listeners so try to toss a few bones to them)Listen: Mike Gordon Offers Grateful Dead Classics at Nectar's (A Gallery + Recap) (relix.com) David Gilmour may be planning first tour since 2016, won't play any Pink Floyd songs from the ‘70's – like the old Doonesbury strip where Elvis comes back from the Dead, Trump hires him to play in one of his casinos and at the start of the show, Elvis announces that he is only playing the songs of the late great John Denver.David Gilmour Plots First Tour Since 2016 (relix.com) Roy Carter, founder of High Sierra Music Festival passes away.Roy Carter, High Sierra Music Festival Founder, Passes Away at 68 (relix.com) .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

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.