American musician and band leader
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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://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://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
Con B B King, Don Cornelius ft. Soul Train, James Brown, Bobby Bland & B.B King, A taste of honey, Jerry Lee Lewis, Buck Owens, The Beatles, Pee Wee Crayton, Randy Newman, the Beach Boys, Bert Jansch, Van Morrison y Maestro Espada.
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
Í sendingini í dag verður fyri tað mesta nýggir sangir at hoyra. Vit hoyra m.a. Miranda Lambert, Brad Paisley og Ella Langley. Eisini hoyra vit eina spennandi duo við eini nýinnspæling av einum gomlum Buck Owens-klassikara.
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.
R osie Flores née le 10 Septembre 1950 à San Antonio au Texas est une chanteuse de Rockabilly et Country Music. Comme d'autres, sa culture musicale se construit à partir de ce qu'elle entend à la radio puis ce qu'elle voit à la télé comme par exemple, les émissions ‘' American band stand ‘' autrement dit le « Dick Clark show ». Au cours de cette période, Brenda Lee et Elvis Presley retiennent son attention, puis un peu plus tard, Buck Owens, Tammy Wynette et même Creedence Clearwater ont sa préférence. Elle aime chanter et sur l'album ‘'Rockabilly Filly‘', figure un enregistrement réalisé par son père alors que Rosie avait 7 ans. Elle a toujours eu la musique dans le sang. Elle a grandi en admirant les voix de Brenda Lee et Elvis, avant de passer à un genre musical plus pop mélodique et en écoutant des groupes de rock comme les Beach Boys (groupe de rock américain) et The Yardbirds. (Groupe de rock britannique des années 1960). La musique de Rosie mêle Rockabilly, Honky Tonk, Jazz, et Western swing avec des influences traditionnelles tirées de son patrimoine Tex-mex. Elle réside actuellement à Austin au Texas.
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
Ný rannsókn dregur fram hvernig líkamsþyngdarstuðull, eða öllu heldur ofþyngd, hefur áhrif á hættu á ýmsum sjúkdómum og niðurstöðurnar eru áhugaverðar þegar kemur að tengslum milli erfðabreytileika og sjúkdóma og hvaða áhrif líkamsþyngd getur haft á hættuna á sjúkdómunum. Guðmundur Einarsson, vísindamaður hjá Íslenskri erfðagreiningu og Kári Stefánsson, forstjóri, komu í þáttinn og fóru með okkur yfir þessar áhugaverðu niðurstöður. Svo fræddumst við um Málæði, nýjan sjónvarpsþátt, sem sýndur verður af tilefni Dags íslenskrar tungu á laugardaginn. Í þættinum fylgjumst við með og fáum að heyra tónlist sem landsþekkt tónlistarfólk flytur og unglingar í grunnskólum landsins sömdu, sem sagt bæði lög og texta við. Þær Harpa Rut Hilmarsdóttir, verkefnastjóri Málæðis, og Elfa Lilja Gísladóttir, sem stýrir List fyrir alla, barnamenningarverkefni á vegum Menningarráðuneytissins, komu og sögðu okkur betur frá þessu verkefni í dag. Við fengum svo vinkil frá Guðjóni Helga Ólafssyni. Í þessum vinkli talaði hann um hvernig kosningar óhjákvæmilega taka yfir sviðið þegar nær dregur, sérstaklega í fréttatengdu efni. Þá koma nýafstaðnar kosningar í Bandaríkjum Norður-Ameríku aðeins við sögu og líka fyrirliggjandi kosningar í Miðbaugs-Gíneu og örlítið er farið yfir stöðuna þar og hvernig hanski sem eitt sinn prýddi hægri hönd ástsæls tónlistarmanns tengist fyrir gráglettni örlaganna við þá sem nú ráða þar ríkjum. Tónlist í þættinum Á vígaslóð / Sléttuúlfarnir (Gunnar Þórðarsson, texti Jónas Friðrik) Hringiða / Vigdís Hafliðadóttir (Hljómsveitin Kanskekki) Sumarið ‘24 / Bubbi Morthens (Bubbi Morthens, hátt í 1000 unglingar eiga hlut í textanum) Fátt er svo með öllu illt / Ellý Vilhjálms og Vilhjálmur Vilhjálmsson (Buck Owens, texti Ómar Ragnarsson) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON
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.
National Vinyl Records day. Entertainment from 1999. The Beatles drummer quit, The two moons of Mars discovered, First sterile surgery took place. Todays birthdays - Robert Southey, Katherine Lee Bates, Jane Wyatt, Porter Wagoner, Buck Owens, Mark Knopfler, George Hamilton, Sir Mix-A-Lot, Casey Affleck. Lauren Bacall died.Intro - Pour some sugar on me - Def Leppard https://defleppard.com/Vinyl Records - Todd SniderGenie in a bottle - Christina AguilaraAmazaed - LonestarBirthdays - In da club - 50 Cent America the beautifulMisery loves company - Porter WagonerAct Naturally - Buck OwensMoney for nothing - Dire StraitsBaby got back - Sir Mix-A-LotExit - Its not love - DokkenFollow Jeff Stampka on Facebook and Cooolmedia.com
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.
Label: Capitol 5647Year: 1966Condition: M-Price: $20.00Credited to Buck Owens & the Buckaroos. Note: This beautiful copy has Mint labels and Near Mint vinyl and audio. The picture sleeve is also Near Mint, with just a touch of ringwear and very light wear at the top edge.
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.
He's just not that into you! Or maybe he is? Or maybe we all need to just snuggle up with a good mug of tea, put on some comfy pants and watch ourselves some romantic comedies. In this episode, join Lexi and Ben and maybe Nora Ephron to really get into the world of funny romance movies. (Please note that Nora Ephron is not actually IN this episode). Are you more of a "Forgetting Sarah Marshall" kinda person, or maybe a "The Notebook" person? Listen now and pick your romantic poison!Jess Says:- I was going to say Swedish berries but like is that a gummy??? idk- Rooked is mommy, thanks for the shout out - Ryan is so tickled- You missed When Harry Met Sally!!! I just think it's iconic and the diner scene is so good- Ryan and I's song is The Whole of the Moon by The Waterboys (idk why, it's a song that Ryan always liked and I didn't know it until we started dating and we both love it)Transcript:Keywords: gummies, candy, romantic comedies, romcom, chick flick, relationship, breakup, puppet, MuppetLexi 00:01 Just regular gummy bears. Ben 00:03 Oh, I guess that's all right. I'm partial to real fruit gummies. Lexi 00:09 I like a bear in a gummy.Ben 00:11 Yeah. Lexi 00:13 Or a coke bottle. I like a good cola bottle. Ben 00:13 Coke bottles are good. What's your ultimate gummy? I don't think we've ever talked about gummies.Lexi 00:19 Iced tea.Ben 00:19 There's an iced tea gummy?Lexi 00:19 There's an iced tea gummy by the makers of the... Haribo?Ben 00:27 Haribo, yeah. Lexi 00:29 They also make an iced tea gummy. Ben 00:30 I don't think I've ever seen that one, but I'm down with some Haribo. Lexi 00:32 I've only ever found it in the candy store in Banff.Ben 00:36 Wow, I like their mixed gummies. I'm a gummy stan.Lexi 00:41 Me too. I can say no to a lot of candy, but a gummy? I have a hard time passing up a gummy. Ben 00:48 It just feels right.Lexi 00:49 It does.Ben 00:49 Okay. Taking away any sort of extra-special types of gummies, what's like a normal gummy go-to for you?Lexi 00:58 Um...Ben 00:59 If you had to choose sort of the run-of-the-mill, you can find them at the drugstore, Shoppers Drug Mart. Lexi 01:04 Coke bottle. Any type of coke bottle. Ben 01:06 All right, all right.Lexi 01:06 A blue shark. I like a blue shark. Ben 01:07 Ooh. Lexi 01:07 I like a gummy bear.Ben 01:12 Mm, mm, mm.Lexi 01:12 And then, if I'm hard pressed, I'll do a gummy worm. Ben 01:12 Mm.Lexi 01:17And then, everything else, I can kind of say no to. What about you?Ben 01:20 I'm partial to sour gummies. Lexi 01:23 Mm. Mm-hmm. Yeah. Ben 01:23 I do like them. So, a sour soother is pretty good. Dina-sour, if you will. Lexi 01:29 Yeah. Very good. My mom used to have those in bulk when she was a high-school principal, and I would just eat them off of her desk all the time. Yep. Ben 01:36 Yeah. I used to hang out in a hot tub with my older brother when we were finished high school, but hadn't moved on with life yet, and we'd sit in the hot tub out back, and just eat sour soothers till, like, 3 in the morning. Lexi 01:50 Well, you know, there's worse things. Ben 01:51 Yeah, right?Lexi 01:53 Do you have a favourite colour of gummy? Ben 01:55 Oh, no. I've never really worried about that. I do like those fried egg looking ones though from Haribo, as well. Lexi 02:00 Mm. Like the 10-cent candies, which are more like a dollar, like just the mix of things.Ben 02:05 Yeah, I like a mix, as well, like a little mix bag, but I like the sour packages. If we are talking about king of gummies, for me, it's a jube-jube.Lexi 02:14 Really? Ben 02:15 Or a Jujube. Yeah, I mean, I'll eat them fresh or not fresh, but they are definitely better when they're fresh. They haven't gone all hard and shit. Lexi 02:23 Yeah. I miss the pink package of gummy bears. That was the king of gummies--Ben 02:29 Oh, I don't know that package. No, I don't. Lexi 02:31 Do you remember that? Like, I remember being a child in going to see The Lion King in theatres and my mom was like, "You can get a snack," and I was like, "I want gummy bears," and it was in a pink package.Ben 02:45 Huh.Lexi 02:45 And the gummy bears—the bears themselves—spelled out the word "gummy". Ben 02:47 Wow, I do not recall those at all, but that's dope. Lexi 02:51 And they were my favourite. Oh, they were... I'll see if I can find pictures of them, but my god, it was my favourite. Ben 02:57 There's a period from 14 to 16 where I was convinced that I liked wine gums, but now, as a more cultured individual, I realize that those are kind of trash. Lexi 03:07 Yeah, they're not...Ben 03:07 Yeah. They're bottom-of-the-barrel gummies, if we're being honest.Lexi 03:11 Yep.Ben 03:11 You know, I can still appreciate a run-of-the-mill, like a frog or, you know, even a fuzzy peach.Lexi 03:17 Mm-hmm.Ben 03:17 They're a little too sweet for me. Lexi 03:20 You know, sometimes, I don't like a whole package of fuzzy peaches, but I'd like, like, two or three.Ben 03:25 Yeah, if they're mixed in. Yeah, if they're thrown in with, like, a little dime bag. Lexi 03:27 Yeah, if they're mixed in, perfect. Little dime bag.Ben 03:31 Little bag of candies.Lexi 03:34 Sounds nice.Ben 03:34 Apparently, when the previous generation was younger, those were one cent, and then when we were kids, they were like 5 cents, and now they're like a quarter a candy.Lexi03:42 Yeah, it's wild.Ben 03:42 It's inflation, motherfuckers. Nobody's earning anymore, but those gummy prices just keep risin'. [Lexi laughs] Lexi 03:48 Gotta pay the gummy toll... the gummy tax?Ben 03:51 Something like that. I've always wanted to make my own gummies at home, but it seems like a complicated process. Lexi 03:56 Oh, god, no. No, I don't wanna see what the sausage is made of. I just wanna eat the gummy.Ben 04:01 I mean, out of sausages to make, I feel like a gummy's a pretty benign sort of thing to see. [chuckles]Lexi 04:08 Well, it's gelatin, so it's like ground hoof.Ben 04:10 Yeah, yeah, you put-- a little hoof or... No, I guess it's just ground-up hoof, isn't it? [laughs]Lexi 04:14 It is. It's ground-up bone and hoof and--Ben 04:16 You know what? Would you prefer we didn't use the entirety of the horse?Lexi 04:19 No, you know... [both laugh] Is it...? Can you...? Is it pig or what type of hoof is it? [laughs]Ben 04:25 I straight up don't fucking know. This is a perfect opportunity for Jess to jump in and educate us.Lexi 04:34 What type of hoof is in gelatin?Ben 04:34 Yeah, what's the most prominent type of hoof in gelatin? If you know, please write in. That e-mail address again is everyone@dorkmatterspodcast.com. Lexi 04:44 I hope the answer is fish bones or something really weird.Ben 04:47 Yeah, it's fish bones.Lexi 04:47 Chicken beaks. The answer is chicken beaks. Like, "Ah, yes."Ben 04:50 You know what it is? If we're being honest, it's probably all these things – everything that you can't put in anything else, yeah. Lexi 04:54 Ah, it's a mishmash. All the hoofs and beaks.Ben 04:58 And some big anus for good measure, you know? [Lexi laughs] That's where you get the tart from. You need a little pucker? [both laugh] We're terrible. Lexi 05:10 We're terrible. [both laugh]Producer Jess 05:12 [magical chime] Really bad news. I did not want to look this up because I wanted to continue enjoying gummies, but then my curiosity got the better of me. Okay, so this is from snopes.com, fact-check gelatin source. I'm going to just read this verbatim. "Sometimes the most innocuous of foodstuffs contain constituents whose origins are less than appetizing. Such is the case with JELL-O, a dessert that has graced millions of dinner tables since its 1897 debut.Underneath JELL-O's jiggly wholesomeness lurks a secret many consumers are disconcerted to learn: JELL-O is made from gelatin, an animal product rendered from the hides and bones of animals, typically pork skins, pork, horses, cattle bones, and split cattle hides." So yeah, you were right, Ben and Lexi; it's all of the above. No fish bones. Sorry if gummies are ruined. They are for me. [magical chime]Ben 06:13 We had some other intro topics. Did you still want to do that or is this good enough? Lexi 06:17 Oh, yeah. No, this is good. Let's punch it. Ben 06:20 All right, let's do the theme song then. [Dork Matters theme music, Dance by YABRA plays]Voiceover 06:51 [echoing] Dork Matters.Ben 06:53 Welcome back to the podcast. This is Dork Matters, a dorky podcast for dorks, and I'm your Dad Dork host, Ben Rankel. And, with me every time we do the show, is your Edorkater, Lexi Hunt. Yeah. Irreplaceably. With us, irreplaceably, Lexi Hunt. Lex, what are we doing today? We're not talking about pig anuses anymore. Lexi 07:14 We're not talking about pig butts. I mean, maybe we are. I mean. Ben 07:16 Maybe. Lexi 07:19 [both chuckle] I mean, anything is possible. We're talking about romantic comedies. Ben 07:25 There's gotta be a pig butt or two in there.Lexi 07:28 You gotta kiss a couple of pig butts to find the right one. Is that right? Ben 07:31 Yeah, to find a good one. Well, won't you bring us here?Lexi 07:36 This was really popular on Instagram. A lot of people were chiming in. Ben 07:39 Yeah, romcoms are a thing. It's interesting to me because I feel like the romcom is kind of gone. Lexi 07:49 The romcom is gone.Ben 07:49 Like the good one, like the blockbuster, like the big-release romcom is gone.Lexi 07:53 Yeah.Ben 07:53 That was a thing of the '90s and it's gone now.Lexi 07:56 Yeah, it's a Hallmark...Ben 07:56 Like, they just can't make bank anymore, can they? Yeah, it's a Hallmark Channel exclusive.Lexi 08:01 Yeah.Ben 08:01 Speaking of, I've got a fun game for you to play a little bit later. Lexi 08:03 Oh, okay. I'm looking forward to that one. Ben 08:05 Surprise for you after the break. Lexi 08:06 Okay. Well, a romantic comedy is just what it sounds like. It is a comedic movie that is centred around the relationships, typically between a man and a woman, although we're starting to see more movies branch out into other types of relationships. And so, it's nice to see. Ben 08:21 Bros. Lexi 08:22 Yeah, but it's also romantic comedies can be associated with negative stereotypes, one might say – a "chick flick", perhaps?Ben 08:32 Mm.Lexi 08:32 I found a great article actually called The Problem with Chick Flicks and I thought it kind of sums it up quite nicely with this quote from Deborah Barker. In the book literally titled Chick Flicks, she says, “The chick flick has been defined variously as escapist entertainment for women, simply as films men do not like, as examinations of capable independent female characters and their empowerment, as emotional ‘tearjerkers,' as tales of female bonding, and as the antithesis to male-oriented action films”.Ben 09:05 Well, we got a lot going on there and I think the primary one is the outdated sort of gender norms.Lexi 09:13 Mm-hmm.Ben 09:13 But also, there's the malignment of female-centric media, you know, the same way that things that women like in very many different aspects of media are kind of talked down to, like, you know, boy bands, etc. "Well, it's not good music. It just appeals to girls," and it's, you know, been used, I think, to malign a lot of different culture that could be engaged with more sincerely by dismissing it because it's femme-centric.Lexi09:46 Mm-hmm. Well, and it's not unheard of... I think it was Chevy Chase who actually said, like, "Women aren't funny," and so romantic comedies--Ben 09:56 Old racist, misogynistic Chevy Chase.Lexi 09:59 Old Chevy.Ben 09:59 The guy too racist to stay on Community. Lexi 10:04 Just, there's so many issues with him and there are so many great examples from Saturday Night Live of funny women, but so, you know, romantic comedies aren't exactly touted for being great examples of writing or even comedic writing, or even of, like, great romantic writing. They're kind of like the stereotype is they're these trashy, kind of like fun films that a bunch of gals get around and drink a bottle of pink wine and cry and laugh and have a good time. Ben 10:35 We call it rosé. Lexi 10:37 Rosé. Like, part of me is like, "What the hell's wrong with that? If that's what you're doing with a group of pals..."Ben 10:41 Absolutely.Lexi 10:42 ...who cares? Do it.Ben 10:43 Again, and this is like it's okay for dudes to get together and watch UFC, but you know, femmes can't get together and watch a romcom that's somehow... Like, we're supposed to think less of that than a bunch of guys watching people hit each other. Lexi 10:54 If you like the movie, watch the movie. And some of the movies, we'll talk about in a little bit. One of them was actually suggested to me by a dude friend of mine because he was like, "This movie makes me laugh every single time. It's hilarious So..."Ben 11:07 Hmm. Is it Bridesmaids? Lexi 11:10 It is not, actually. The other thing that I was reading about too, in doing research for this here episode, was about the--Ben 11:18 Research? Not on Dork Matters. Lexi 11:22 Yeah. Dork, dork, dork. Nerds!Ben 11:23 We have show notes, folks. We actually do way more work on these than I think comes across when we record them. [both laugh]Lexi 11:32 "The guy with the... What's the name of that guy? [snaps fingers] The guy with the face." [laughs]Ben 11:35Oh, that's a personal failing. [chuckles]Lexi 11:38 But, I was reading about the Bechdel Test. Ben 11:41 Alison Bechtel, comics legend. Lexi 11:43 Mm-hmm. The Bechdel-Wallace test is a test that measures the representation of women in film and other fiction. It's a test that asks whether a work of fiction basically features at least two female characters who have a conversation about something other than a man on screen or in the book, or whatever. Ben 12:01 Right. And it's been expanded since that original definition, but I don't know where we're at now to include some other criteria. But, yeah.Lexi 12:08 Yeah.Ben 12:08 Yeah, and again, the thing that some people forget about the Bechdel Test is that it is the lowest bar that you could step over.Lexi 12:16 Yes. [laughs]This is not meant to be like, "Hold your head up high and fly a flag." Like, this was the bare minimum. You had enough female representation in a film to have two people talk to each other, that are femme, that were not talking about the masc character in the film and, like, is a very low bar to clear [whispers] and a lot of media does not clear it.Lexi 12:41 Well, and especially romantic comedies because, so often, romantic comedies are typically centred around like the heteronormative man-woman, cis relationship, and so--Ben 12:51 Man-woman, man-man relationship.Lexi 12:55 Yeah, it's typically that triangle of--Ben 12:58 Yeah, M-F, M-M.Lexi 13:00 --man dates woman, woman has problem with man for some reason, starts dating other man. Original man wants to get her back with something very...Ben 13:07 Grandiose?Lexi 13:10 ...grandiose. Gets her back. There's usually some type of rain. Ben 13:13 Oh, yeah, you gotta have rain. Lexi 13:15 And then everything ends hunky dory. Ben 13:18 Yeah, happily ever after. There are a few that subvert that trope, and one of those is on my list...Lexi 13:26 Yep. Mm-hmm. Mm-hmm.Ben 13:30 ...of favs, which is what I call faves, which is short form for favourite.Lexi 13:33 That is true.Ben 13:35 Can you hear the "u" when we say favourite? Lexi 13:37 Fav-our-ite.Ben 13:38 [chuckles] I feel like we can. We're Canadian, so we say the "u". Fav-our-ite col-our.Lexi 13:44 Col-our. [laughs]Ben 13:47What else we got? Although I do get tripped up because I want to add one to major. Lexi 13:51 Mm, mm-hmm. Ben 13:52 Trips me up. Lexi 13:54 Can't do it.Ben 13:54 I can't just put a "u" in whatever I want, but I want to. That "u" is important to me. Where were we? Lexi 14:01 Uh, we've talked about what they are. Let's get into it. Let's talk about what's your favourite-- your top three. Ben 14:07 Our top three? Okay, let's go. Why don't you lead us off here? Lexi 14:11 Yeah. Okay, I'm going to start with--Ben 14:14 Give me your favourite. Tell me why it's your favourite, and then let's chat about it. Lexi 14:17 So, this is the one, I was going through a breakup. I was very, very, very sad, having a hard time. Ben 14:24 Do you want to give us more details on your personal life? Lexi 14:26 Nope. I was very sad.Ben 14:27 Who did you break up with? How long were you going?Lexi 14:30 Don't want to talk about it, but I was very, very sad and my friends, Jillian and Dylan—as I like to call them, Dillian because they're a couple—Ben 14:37 Or Jillan.Lexi 14:38 Jillian... Nope. Jillan?Ben 14:40 J--J--Jillon.Lexi 14:40 I like to call them Dillian.Ben 14:41 Dillon? Dillian is better.Lexi 14:45 They are huge fans of the romcom, and Dylan was actually like, "You have to watch Forgetting Sarah Marshall." It is so ridiculous and over the top, and this was right around the time Forgetting Sarah Marshall came out. That was, like, what? 2007, 2008, in and around there. Ben 15:03 Earlier than we'd like to admit. [Jason Segel sings Peter You Suck, from Forgetting Sarah Marshall]Lexi 15:05 Yes, but it was hilarious. Now, okay, in hindsight, yes, Russell Brand. Now, by today's standards, not a good dude. Also, Jonah Hill.Ben 15:14 There was a long while there, where we're like, "Hey, this dude's telling it like it is in a more progressive bent," and...Lexi 15:19 And now we're like, "Oof." But, at the time, so you have people-- it was kind of like that frat pack group of dudes.Ben 15:27 Mm-hmm, mm-hmm.Lexi 15:28 So, you got Jonah Hill. Who else is there? Mila Kunis, Russell Brand... Oh, my god. I've completely.Ben 15:37 Star of the show. [song continues]Jason Segel 15:38 [sings] It's so self-loathing, go see a psychiatristI hate the psychiatristWell go see one anywayI don't like the psychiatristYou need to go see oneSee a psychiatristI'm not going.Lexi 15:48 Jason...Ben 15:50 You got this.Lexi 15:50 Segel.Ben 15:52 Yeah. I was gonna do a caw for you, like [caws]. Is that seagull or is that...? [laughs]Lexi 15:57 'Cause, in my head, I could see him, but I was like, "It's not Sudeikis. That's--Ben 16:00 No.Lexi 16:03 So basically, there's a breakup. He takes it hard. He has to get over Sarah Marshall. He goes to Hawaii, and hilarity ensues.Ben 16:12 Guess who's there?Lexi 16:12 Bill Hader's in it, and Sarah Marshall is there. They have this great time of, like, one-upping each other and being sad on the island. But, what I really liked about the movie was, after they leave Hawaii and things don't end well, he goes back and it shows him kind of pushing through his depression and still coping with it, still being sad, and still trying to work on himself, versus trying to get back to a relationship that, as the movie kind of goes on, you see he keeps having all these flashbacks of Sarah, and then they're so perfect at first, and then as the movie goes on, the flashbacks kind of show how the relationship actually wasn't that perfect. Ben 16:50 Rose-coloured glasses--Lexi 16:52 --start to come off. Ben 16:54 Yeah, yeah, the idealization or, you know, turning somebody into an idea as opposed to dealing with them as they actually were. Lexi 17:02 Yeah. And, seeing it from her perspective too, because she points out that he was actually quite depressed and she was trying to help him through it, but eventually had to save herself because he was not taking care of himself and she had to make this hard call. And so, then you start to empathize with her, that she's not just this bitch that she's been cheating on him. She's a person who also was really struggling. And then, it really wraps it up with, like, yeah, he kind of dates Mila Kunis to kind of get over her, but they both kind of separate and become buds in the end, and it just culminates in the funniest, cutest Muppet/puppet Dracula musical. [Jason Segel sings Dracula's Lament from Forgetting Sarah Marshall]Ben 17:43 You know we love-- we love puppets here.Lexi 17:44 And it's just so funny. We love puppets and so that--Ben 17:47 With the exception of part-time guest host, Stephanie Gerk, who is afeared of puppets.Lexi 17:52 --is not a fan of puppets. Jason Segel 18:05 [sings] And I've been living too hard to believeThat things are going to get easier nowI'm still trying to shake off the painFrom the lessons I've learnedAnd if I see Van Helsing, I swearTo the Lord I will slay him! (A-ha-ha-haa!)Take it from meI swear I will let it be so! (A-ha-ha-ha!)Blood will run down his faceWhen he is decapitated... (Aah!)His head on my mantle is howI will let this world knowLexi 18:31 But, I just love that, at the end, he wants to do this ridiculous musical and he does it. He finds a way to bring it together and I just love that movie. [song ends] There's one specific line, Ben, that I think about constantly and it's from Russell Brand's character is missing a flip flop and he's trying to find it and he's like...Russell Brand [18:45] [with Lexi quoting along sporadically] "Excuse me, missus. I lost a shoe-- like, this one. It's like this one's fellow. It's sort of the exact opposite. It's not like it's evil or something. Just, you know, a shoe like this, but for the other foot. Otherwise, I'd have two right...Lexi 19:07 And I think that is so funny. [laughs] Ben 19:12 I knew it was going to be that part. Lexi 19:13 He was funny in it.Ben 19:13 He was funny. It's too bad it didn't work out for him to be a good person, overall.Lexi 19:16 So, forgetting Sarah Marshall, I love you. Ben 19:20 A fantastic pick and that idea of focusing on oneself as a means of growth, as opposed to focusing on a relationship that didn't work and obsessing over it, is something I think I appreciate from that film as well, which leads me into my first pick, in a similar vein, which is 500 Days of Summer. [500 Days of Summer Main Title by Mychael Danna Rob Simonsen plays]Lexi 19:40 Ooh.Ben 19:40 We got Joseph Gordon Levitt and Zoe Deschanel, who I'm generally not a New Girl fan. Lexi 19:47 No. I go back and forth on her but, yeah.Ben 19:50 Yeah. Yeah. So basically, you know, guy meets girl, guy and girl have relationship, relationship seems great to one, not to the other. Eventually, it falls apart and JGL's character spends a lot of time just being like, "What went wrong? Why didn't this work out? What did I do wrong? What did she do wrong?" obsessing over this failed relationship until eventually somebody kind of is like, "Hey, you are being a bit of a loser about this. You need to stop and actually think about how this relationship was going," and it's a similar situation to FSM, if you will, as we call it – us Marshall-heads.Lexi 20:29 Mm-hmm. [both chuckle]Ben 20:29 In that he realizes that he has built up this sort of idealized version of the relationship, and even himself and Zooey's character, in the relationship as well. And then, you get... It's told out of order, as well, so you kind of start with the breakup and then work back to sort of how that happened and you start with more of his perspective on things and kind of him as the protagonist and like the victim. But then, as you get through it more, you realize how much JGL's character has pushed this other character into something she was very clear about not wanting to start with.Lexi 21:06 Mm-hmm. Ben 21:08 And we eventually find out that basically she wanted to keep things casual, and then eventually they clicked enough that, you know, he pushed her and sort of not nagged but, you know, insisted upon a relationship that she wasn't comfortable with. And then, it somehow shocked Pikachu-face when it doesn't work out the way he wants. And then, she goes off and finds a thing that he wanted with her, with somebody else and, you know, it kind of culminates in a moment where he's like, "Why? Why did you tell me you didn't want this?"Lexi 21:33 Yeah.Ben 21:33 "And yet, you immediately went out and found it with somebody else," and she said, "I didn't want it with you. It didn't work with you. You know, you weren't the right person for me."Joseph Gordon Levitt 21:43 I mean, it doesn't make sense. Zooey Deschanel 21:47 It just happened. Joseph Gordon Levitt 21:49 Right, but that's what I don't understand. What just happened? Zooey Deschanel 21:53 I just... I just woke up one day and I knew. Joseph Gordon LevittKnew what? Zooey Deschanel 22:03 What I was never sure of with you. Ben 22:03 And it's a very honest and humbling moment. And then, you know, the end of this movie is him finding a way to move on past his obsession over this failed relationship and better himself. And, that leads to sort of the culmination of his movie, which is like, you know, finding a way to be a better person and healthier relationships in the end. And, I like that as well.Lexi 22:26 Yep.Ben 22:26 Did you ever watch it? Lexi 22:27 I did watch it and I found it not my favourite of his work. Ben 22:36 So, I think for me it was a zeitgeist thing, as well, like same for you for Sarah Marshall. I had gone through a relationship and had found myself sort of obsessing over, like, "Why didn't this work out?"Lexi 22:48 Yeah.Ben 22:48 "I thought we had all of this," and then going back and being like, "Oh." Eventually, after spending some time working on myself and getting some distance and feeling better about where I am as a person, I can look more objectively at the relationship and be like, "Oh, here's some places that I pushed when I didn't need to," or when they didn't want me to and seeing some stuff that was there that you don't want to see when it breaks up initially. Lexi 23:11 They do a really good job in that movie of showing how a relationship can really bring out the worst in decent people, because I found his character, he really ran the gamut in that movie because there's moments where I was like, I understood him, I related to him, and then other times where I was like, "God, you are like an incel," because he was so angry. [Ben laughs]Ben 23:32 Yeah. Lexi 23:32 And I was like, "God, get over it." And it was right around the time that the friend is kind of like, "You're not doing well.”Ben 23:39Yeah, it's his little sister, I believe, who's like, "You're kind of an asshole about this."Lexi 23:42 Yeah. And I think we all have that in us. Like, we've all had a relationship—maybe not a romantic relationship, even a friendship—that's brought out not good things in us. And, sometimes, it takes a person who's really brave and really cares about you to be like, "You're not well." That's a hard thing to say to someone. Ben 24:01 Do you respond well to that? I find, not for me. I think I have to, like, live five to six years afterwards and be like, "Oh, fuck."Lexi 24:08 I do when it comes from certain people. Like, I have a couple of friends in my life, like if they were to sit me down and be like, "I'm concerned about you," then I'd be like, "Oh, shit." Like, I would take it super seriously because, for the most part, those people would not get involved in my problems. So, if they were to sit down and say like, "I'm concerned," I would be like, "Okay, I'm taking this seriously," and that's basically what happened with Forgetting Sarah Marshall. [both laugh] Dillian was like, "Hey, bud, you're sad. You okay?"Ben 24:40 Yeah. [Lexi laughs] Yeah, yeah, 500 Days, as well. His little sister's like, "You're only thinking about happy stuff. I saw a lot of stuff that was not very happy."Lexi 24:49 Yeah.Ben 24:49 There's the part where I think it's a party where he finds out she's engaged and he turns into a real piece of shit there. And, there's a quote during the, like, press junket from this movie where Joseph Gordon Levitt himself is like, "I need people to understand that I am the protagonist of this film. I am not the hero, and I don't think anybody should be looking at me as a heroic person in this movie."Lexi 25:09 Yeah.Ben 25:12 And I just get that. Yeah. I felt that at the time, the obsession, the confusion, the anger.Lexi 25:18 Mm-hmm. Totally. Love it. Ben 25:20 And that's what that makes that one stick for me.Lexi 25:22 That's a good pick. Ben 25:22 The title, though, not my favourite. It's a little twee. 500 Days of Summer... Oh, because her name is Summer and they're together for 500 days.Lexi 25:29 Yeah. Oh!Ben 25:32 Wow. That's a year and a half. That's a long time.Lexi 25:33 That's a good long time for a relationship that...Ben 25:36 It's not nothing, but it's also not enough to be like, it's worth your everything--Lexi 25:42 Well, and it's also, if you think about it from the other side of it, 500 days to be in a relationship that you never wanted to be in, in the first place, like, ooh.Ben 25:49 Oh, my god. Yeah, it's rough. When you start moving back through that movie and realizing that she was like, "I want to keep it casual," and he just sort of--Lexi 25:55 --like, forces her into a relationship. Ben 25:57 Pushes. Just pushes. Yeah, he just pushes and is never cool or chill about it.Lexi 26:00 No. Hence the incel part where I'm like, "Okay." [laughs]Ben 26:05 Yeah, absolutely. No, absolutely. And it was before we had a word for that or, you know, a bunch of people watched that movie and we're like, "Oh, god. She's bad to him."Lexi 26:14 She should have just said, "Yes," and gone along with it. Ben 26:15 Yeah. "Why didn't she marry him even though she didn't feel like he was the right person for her?" [Lexi laughs] "He loved her so much, and he treated her really good, and when you treat someone good, they have to give you anything you want."Lexi 26:27 Like, "Oh, boy." Reminds me of a friend from art school. [Ben laughs] I've said it before – best piece of dating advice I ever got from them was, "You don't date nice." Like, it's not a good enough reason to stay with someone. Like, "They're nice to me." Like, "So what? Everyone should be nice to you."Ben 26:41 Yeah. Everybody should be nice to you.Lexi 26:43 Yeah.Ben 26:43 Yeah, absotootly, as they say on Thomas and Friends: All Engines Go, because they're trains and they toot. [steam train whistle blows] Yep. Absotootly. [Lexi sighs] Sorry about that. Should we keep going or do you want to do mid-break? It's your call. Lexi 26:59 Let's do one more and then we'll go mid-break. We'l do three and three. Okay.Ben 27:02 All right. All right, I'm gonna do the next one.Lexi 27:04 Oh, okay.Ben 27:06 Is that okay with you, or do you wanna do the next one?Lexi 27:07 No, no. You go. You go. Ben 27:09 All right, I'm launching into a problematic fave... Lexi 27:13 Okay.Ben 27:12 ...which is You've Got Mail.Lexi 27:15 Yeah.Ben 27:15 It's a Nora Ephron flick. It's Tom Hanks and Meg Ryan's re-starring together again after their first tilt at Sleepless In Seattle, which is another favour of mine, but we'll do that some other time. [Over the Rainbow by George Fenton from You've Got Mail plays] You've Got Mail, I loved. I watched the hell out of this movie. I thought it was romantic as heck until somebody confronted me and, like, this entire movie is based off of a premise of complete power imbalance towards the male character who lies and manipulates the other person and then puts her out of fucking business, all while being very callous and still trying to court her surreptitiously.Lexi 27:56 Yeah.Ben 27:57 But it still has a special place in my heart because I liked it for so long. And then, so after I was confronted with how terrible the relationship in this movie actually is and being like, "Oh, fuck, they're right," I still like the film and I had to slow down and be like, "What is it that I actually really loved about this film?" and I realized it's the character of New York in You've Got Mail. I am in love with this version of New York that they show, which admittedly is very twee and non-existent. It's almost a Friends version of New York.Lexi 28:33 [chuckles] Yep.Ben 28:33 Almost. But, it's just this really romantic version of New York, to me, where like people just stroll around and there's a Joni Mitchell soundtrack to this thing that kind of slaps, and it's just one of my favourites, and I like Parker Posey a whole lot. Lexi 28:49 Parker Posey is an absolute treasure. Ben 28:52 So, she's a delight in this as an executive who gets kind of dropped by Tom Hanks' character and is just sort of like, 'Fuck it. I don't care. I'm successful and awesome. I don't need... Like, this doesn't matter to me."and just sort of shrugs him off. And, you get a great Greg Kinnear as a nut who is really obsessed with typewriters.Lexi 29:11 Mm-hmm.Ben 29:12 I love that bit. [music continues] And... Whats his name? Steve Zahn plays a character that works in this, like, little independent bookshop who is just--Lexi 29:20 He's always like a zany--Ben 29:22 --zany, bonkers weirdo. Yeah.Lexi 29:23 He always plays a zany kind of like, "What are we gonna do with him?" kind of character.Ben 29:28 Yeah, we get a great line from him in this film, which is, "I'm going to the nut shop where it's fun." It's a real classic.Lexi 29:37 I will say, the Nora movies, they do a great cozy vibe.Ben 29:43 Yeah.Lexi 29:43 Like, everybody's got a good scarf, the kitchens always very nice.Ben 29:46 Yeah, the lighting is good.Lexi 29:46 Like all of the Father of the Bride movies, they just feel like you're having a cup of cocoa and a big-- Ben 29:54 They're very white, though. Lexi 29:55 Yeah, they're super white. Yeah.Ben 29:56 Yeah. Lexi 29:57 Very like Connecticut. Ben 30:00 Yeah, we get what's-his-face in You've Got Mail as the bestie, which is Chris... Oh, my god. This is gonna kill me. Fucking, now he's come back as a comedian again and he's very transphobic and nobody's a big fan of him returning.Lexi 30:17 Oh, who is it?Ben 30:17 Dave Chappelle. God, that took me enough.Lexi 30:19 Oh. Dave Chapelle is in that? No.Ben 30:18 Yeah, he's the best friend. Lexi 30:22 Are you sure?Ben 30:23 Not anymore. You're making me really question myself. I've watched this movie, like, 3,000 times. Lexi 30:27 I feel there's no way Dave Chappelle is in You've Got Mail. [music continues]Ben 30:30 I'm almost positive he is. To Google! [old-school computer bleeping] [scratching record, DJ-style]Lexi 30:39 Looking at it right now. Oh, my god, you're right. Ben 30:42 He's in it. Yeah, he plays Tom Hanks' best friend/assistant/whatever his job is. Lexi 30:48 I find that shocking. It has been so long since I have seen that movie. Ben 30:54 Yeah.Lexi 30:57 My goodness. Ben 30:57 It's been a minute now for me too, 'cause I don't have time to do anything anymore, but yeah. Yeah, so the whole premise is manipulative and wrong, and he treats this woman like shit, in person, and then, via these emails that they're sending is just romantic and nice. And for, like, two thirds/three quarters of the movie, he knows who she is, she doesn't know who he is, and he never bothers being like, "Hey, I'm actually the guy you're emailing with. Let's deal with this relationship on an equal footing." He just fucking manipulates her. Yeah. Lexi 31:32 No, he catfished her before it was catfishing and this was the precursor to shitty social media relationships where it's like, "Don't talk to me in public, but online we can, like, sext, and it'll be cool."Ben 31:42 And then they meet up in the park and she's like, "I hoped it would be you." And then I'm like, "Nah, real life, she'd be like, 'You motherfucker.'"Lexi 31:50 "No, you didn't." Ben 31:50 Shove him in the water.Lexi 31:51 Yes, she should. That's how it should have ended – just, "Fuck you," right in the water.Ben 31:56 "You fucking piece of shit," and just shoves him into the water. [both laugh] Yeah. Lexi 32:01 "You've ruined my life. But don't worry, you can be the little honey bun at home."Ben 32:04 Yeah, "You destroyed the shop that my mother started," and that's supposed to be a great release for her, according to this movie.Lexi 32:12 Hey, she finally let her mother go. Ben 32:13 Yeah, "You troubled yourself too much with this shop. This shop wasn't really for you. It was for your mom." No, it's for her, too. It's her business. And now what? She gets to go edit books or something for Parker Posey? I guess that's not that bad.Lexi 32:25 No, it sounds kind of nice too, but...Ben 32:26 Yeah, Parker Posey hires her in the end, which I think is great. [chuckles]Lexi 32:30 [sighs] Yeah.Ben 32:30 [Dreams by The Cranberries from You've Got Mail plays] Anyhow, I still like the film from the version of New York, we get to the Joni Mitchell opening. Greg Kinnear is great. Steve Zahn's awesome in it. And then, you also have this like story where Tom Hanks' character's father is on his third wife and he's got these two little siblings from, like, his grandfather's just disgusting relationship with a younger woman and his father's disgusting relationship, and then eventually the nanny leaves with the second or third wife or whatever. It's amusing.Lexi 33:01 Yeah, there's some jabs in there, but okay.Ben 33:03 Anyhow, I can't do faves without talking about it, even though it is problematic and, you know, I now see a lot of issues with that film's writing, but... [both chuckle] I had a huge crush on Meg Ryan for a long time. [music fades out] What is your second one? Do you have a great lead in? Lexi 33:23 I do because actually, as you were talking, I changed my mind about--Ben 33:29 Oh, my goodness. What?!Lexi 33:29 I did.Ben 33:32 I saw that a pop up on the screen here that said, "Lexi has edited the show notes."Lexi 33:35 I made a change. So, I've changed my second one to others to kind of chat about, runner up, whatever. The next movie romcom that I'd like to talk about is Baby Mama. Sorry.Ben 33:47 So, I've never heard of this.Lexi 33:47 [Stay Up Late by The Talking Heads from Baby Mama plays] Oh, Benjamin. It is awesome. Okay, so we've got Tina Fey, we've got Amy Poehler, we've got Greg Kinnear, and Dax Shepard. So, the whole premise is Tina Fey... Again, this movie was recommended to me by Dillian. Ben 34:07 Oh, it's coming back to me now. Lexi 34:09 And it's about Tina Fey, who's this corporate lady who she's getting up there in age and she wants to have a baby, but she's not in a relationship. So, she decides to just hire a surrogate who turns out to be Amy Poehler, who kind of plays this like white trash crazy lady. Ben 34:28 Yeah. Yeah. Lexi 34:28 And the two of them forge this, like, really unlikely friendship, and meanwhile are having their own, like, issues with men on the side. And I feel like it's a romantic comedy about friends and, like, yes, there's male love interests in both of the ladies' lives, but it's more or less like it's the coming together of two unlikely friends to form a really strong relationship. Ben 34:48 Mm-hmm.Lexi 34:49 And it is funny as shit. I loved it. To this day, still makes me LOL. I love it. Ben 34:56 Yeah, laugh out loud for the younger generation. Lexi 35:00 Just, there's one scene because. I worked at--Ben 35:02 Wafflecopter.Lexi 35:02 I worked at a well-known grocery store...Ben 35:07 We all know by now, if you listen to the show.Lexi 35:07 I worked there, and we used to joke about it all the time that this movie came out 'cause it kind of felt like working in this, like, corporate, natural grocery store, where the owner of the store is, like, fabulously rich and wealthy and very like, not down to earth, but then is also pretending to be this hippy.Ben 35:26 Only hires granola people. Lexi 35:28 Well, no, but like is pretending to be this hippie and kind of is, but absolutely so disconnected from life, and there's one minute, and it's they played by Steve Martin and he plays such a good wacky, hippie billionaire. He rewards Tina Fey's character with five minutes of uninterrupted eye contact [Ben laughs] and it's just so good. Ben 35:52 My god, I can't do a three count of eye contact with anybody. Five minutes is fucking torture. It's like staring into the sun. Lexi 35:58 It's so funny and the whole thing, it starts with Liz Lemon-- [laughs] Tina Fey's character--Ben 36:05 I feel like when you have a prominent actor, you can call them anybody from their oeuvre of films or whatever. Lexi 36:12 Yeah. Tina Fey's character is looking for a new location for one of their new grocery stores, which is basically like a Whole Foods, and she scouts out a place which is Greg Kinnear's juice shop and they forge a bit of a romantic relationship that way. That man plays a good romantic lead. Ben 36:29 Yeah, he's unthreatening and has sort of big eyes.Lexi 36:32 Yeah. Very gentle, deer-like qualities.Ben 36:36 [laughs] Yeah, he's a deer man.Lexi 36:38 He is a dear man. But, if you haven't seen it, Ben, you need to watch Baby Mama. It's hilarious. [song continues]Ben 36:42 Yeah, I'll check it out. I'll put it on the to-watch list, for sure. Awesome. [music fades out] Well, if that wraps up the second, I think it's time for us to go to our mid-show break. [sings along with "Who's That Pokémon?" theme music] Da-na, na-na... [record scratches off record] No, no. What? Da-na... [record scratches off record] No, we're not doing it, not this time.Lexi 36:56 Whaaaat?Ben 36:57 [sings along with "Who's That Pokémon?" theme music] Da-na, na-na... [record scratches off record] We're not doing Who's that Pokémon? [gasps] We're playing a game I've stolen from another podcast called My Brother, My Brother and Me, in which I offer you a Hallmark rom comedy description.Lexi 37:11 Okay.Ben 37:12 I'm going to give you a romcom title and description. You tell me if it's Hallmark or AI [Lexi laughs] in a segment I like to call... [playful music plays] Hey, I?Lexi 37:23 Oh, wow.Ben 37:25 Hallmark or AI?Lexi 37:25 AI.Ben 37:27 AI, question mark. I don't know. So, that's the game we're playing today. Lexi 37:31 Okay.Lexi 37:31 Yeah, let's do it. Ben 37:31 Let's get into it. You ready for your first one? [romantic music plays] The title of this romcom is Love Notes and Bookstore Blunders. "In a quaint bookstore nestled in the heart of a bustling city, a shy and reserved librarian finds herself caught in a whirlwind romance with a charming but disorganized writer who accidentally swaps their notebooks, leading to a series of comedic mishaps and unexpected connections as they embark on a journey to retrieve their misplaced musings and maybe find love along the way." AI or Hallmark? [music ends]Lexi 38:03 I'm going to go with AI.Ben 38:04 Ding, ding, ding! That is AI. Well done. Lexi 38:07 Yay!Ben 38:07 [laughs] What gave it away? Lexi 38:11 It's a little too on-the-nose.Ben 38:12 Is it too on-the-nose? You just wait. Some of these Hallmark ones are very...Lexi 38:16 Okay. Well, no, I mean like I don't have... Yeah, okay. Give me the next one. Let's do this. Ben 38:20 The next one here is Cupid's Catering Chaos. [romantic music plays] Lexi 38:24 Oh, god. [Ben laughs]Ben 38:26 "When an ambitious but overwhelmed chef reluctantly agrees to cater her ex's wedding, she finds herself entangled in a comedic web of mistaken identities, culinary calamities, and unexpected romance when she collides with the charming wedding planner determined to make the event perfect, forcing her to confront her past and maybe find a second chance at love." [music ends]Lexi 38:49 I'm going to say that's Hallmark. [wrong buzzer sounds]Ben 38:50 It's AI. Lexi 38:53 Agh. Okay, okay.Ben 38:57 All right. All right, let's do one more.Lexi 38:59 Okay.Ben 38:59 Let's see if you'll land this one. The next one is called Dater's Handbook. [romantic music plays] "Cass is searching for the man of her dreams, except she thinks she has found the ideal man. She finds out she's wrong after a few dates and decides to read The Dater's Handbook, a guide that outlines the expectations a man should achieve. George follows all the expectations in the handbook, whereas Robert doesn't, but he's equally charming. Blah blah, blah blah blah." Basically, should you follow your heart or the expectations of others? That's it. [music ends]Lexi 39:29 I'm gonna go with AI. [wrong buzzer sounds]Ben 39:31 It's Hallmark.Lexi 39:32 No! Oh, my god. Ben 39:35 Dater's Handbook, 2016m starring Meghan Markle in this cast.Lexi 39:40 No.Ben 39:40 Yeah, and two people I've never heard of as the other competing men. [Lexi sighs] Anyway, I could play this game all day, but it does lead you to wonder if perhaps AI is writing everything that comes out of Hallmark. [Lexi laughs] Lexi 39:56 I mean, reading some of the titles that came out around Christmas-time, I was just like, "My god. This is awful."Ben 40:04 I'm not going to do the full thing, but here's a couple more. There's one called Finding Normal.Lexi 40:08 Ooh.Ben 40:08 So boring. Summer Villa, generic as hell. Hidden Gems. Lexi 40:12 Yeah, I've heard of that one. Ben 40:13 Deliver by Christmas--Lexi 40:16 I've heard of that one too. Ben 40:15 Just My Type.Lexi 40:18 Oh. Ben 40:18 So, I think the thing I'm taking away here is that the more specific the title is, the more likely it is to be AI. The actual Hallmark ones are boring as hell. Lexi 40:28 We should write one of these. Ben 40:30 We absolutely should. Lexi 40:32 Like, "Man in sweater likes pie." Like, "Oh."Ben 40:34 Yeah, it's called Pie of my Eye. [laughs]Lexi 40:38 Pie of My Eye.Ben 40:39 When an artisanal sweater maker accidentally has their yarn delivered to the equally artisanal pie maker next door, hilarity ensues.Lexi 40:52 Basically, there's so many ones like The Truth About Cats and Dogs. Ben 40:56 Yeah. Lexi 40:56 Like, that's another one of like the dogs meet in the dog park.Ben 40:59 Well, that's not Hallmark.Lexi 40:59 40:59 No, but I'm just saying that lie they could definitely do one where it's like, "The people at the puppy store are next door to the kitten store and they fall in love, but will cats and dogs ever truly get along?" Like, "Eugh." Puke.Ben 41:13 Yeah, because cats are the opposite of dogs. Lexi 41:16 Cats are girls and dogs are boys. [both laugh]Ben 41:17 Yeah. There's a term for that stupid thing in psychology, but I don't remember what it is, so fuck that. Anyhow, [sings along with "Who's That Pokémon?" theme music] Da-na, na-na-na. [speaks] AI? The worst fucking title for that.Lexi 41:33 That's a good one.Ben 41:35 All right, I'm glad we got to switch it up a little bit. Let's go into our final choices here.Lexi 41:40 Yeah.Ben 41:40 Why don't you take it away? Lexi 41:42 Okay, for my final romantic comedy shout-out of the evening, I'd like to... [laughs] It makes sense to me. My movie pick is Idiocracy. Ben 41:55 Okay. Yeah. [Buckaroo by Buck Owens from Idiocracy plays] This is a strange one for me. I don't necessarily think of Idiocracy as a romcom or as a prescient look into the future that we now live in. Lexi 42:06 Yeah, it's a documentary about our current day and age.Ben 42:10 Yeah.Lexi 42:10 No. I just find like the two-- well, I guess there's three main characters in. it. So, you've got Maya Rudolph and then one of the Wilson boys--Ben 42:19 Luke.Lexi 42:19 Luke Wilson, fall in love in a hopeless place, Ben.Ben 42:25 A hopeless place being what amounts to now, 2024 America. Lexi 42:32 The future. It's just so funny because both of them are kind of like useless in the present day, but then they wind up--Ben 42:38 But really shine.Lexi 42:38 But then they wind up-- they're absolute geniuses—geniusi?—in the future. Ben 42:44 Yeah, geni.Lexi 42:44 Geni. And they come together to, like, have a really positive relationship that's built on respect and kindness, and I think that's something that we should all aspire to is just like doing the best you can, be nice to each other, look out for everybody around you, and be respectful. And that movie is so hilariously bad and so much of it, Terry Crews, as the president who rides a motorcycle, and my favourite is when he--Ben 43:17 They're spraying Gatorade on all the lawns. Lexi 43:19 When he's doing the state of the address and he's walking up and down the stage and just like into the microphone is like, "Shit." Like, that is so funny. That entire movie is amazing and it is a great romantic comedy. I don't care what anyone says. Ben 43:35 No, we ain't here to judge. You get to choose what you like, and I think that's a fantastic choice. Lexi 43:41 Other favourite part of the movie is when he's in prison—Luke Wilson's character—is in prison and he goes up to the guards and he's like, "Hi, excuse me. I'm actually I'm supposed to be getting out," of jail and the guards are like, "Then you're supposed to be in that line, stupid." [laughs] "Yeah, right. Sorry." [laughs] Ah, it's so good.Ben 43:59 The idea that, you know, a completely sort of average to below-average intelligence like myself could someday be useful or possibly a genius is very appealing to someone like me, so I get it. Lexi 44:15 Great movie. Ben 44:17 Idiocracy, apparently a romcom. Lexi 44:19 Yep. It is. It is.Ben 44:20 I'm letting you have it. I ain't challenging that. Lexi 44:22 Prove me wrong, world. Prove me wrong. Ben 44:24 None of us want to take the time to do that. We're all very busy.Lexi 44:27 Busy. Well, I definitely have a lot of shout-outs about runners up, but I think we'll probably talk about them in just--Ben 44:32 Let's do it. Let's go around in a minute. I'm going to do my next one quickly here and it's Music and Lyrics. [Main Theme from Music and Lyrics by Adam Schlesinger plays] After I started my relationship with [imitating Borat] my wife, [in usual voice] we decided to exchange romantic comedies that we enjoyed, and I presented You've Got Mail to Fiona and I was like, "Did you love it? Did you love it?" and that's when I got the, "Actually, it's fucked up and here's why" back from Fiona. [Lexi laughs] And then, she's like, here's a romantic comedy where the two main people are on a more even footing with each other and it was Music and Lyrics. This is a movie starring everyone's favourite British dude--Lexi 45:17 Hugh Grant. Yep.Ben 45:18 High Grant. I can't believe I just blanked on his name, who is a sort of washed-up or retired pop star from the '80s – think like George Michael from Wham, but he's straight. So, he was a young pop megastar and now he's sort of washed up and then Drew Barrymore as a... What is she? A house sitter in this movie, if I'm remembering correctly? She ends up watering his plants for some reason while he's busy taking jobs, writing shitty lyrics for shitty pop stars that he doesn't really care about, and he's just in it for the pay check and they come to a point where she starts meddling with his lyrics, and they get together and they start working on the music and lyrics together and they form this really lovely relationship where they are equals in it and they're both contributing to all aspects of it and we get this great fake Shakira in the movie that I think is just wonderful. Lexi 46:15 Mm-hmm. Ben 46:17 And it was the juxtaposition of the romcom that I'd offered up as a fave versus this one that has made it a fast fave for me, and also came from the person that I chose to spend the rest of my life with--Lexi 46:30 Aw, that's sweet.Ben 46:30 --which makes it a very special movie to me that I've watched many, many times, but it's just a lovely, wholesome romantic comedy full of laughs because Drew Barrymore is, generally speaking, charming when she's not crossing picket lines. Writers' strike reference there, for everybody.Lexi 46:47 That's true.Ben 46:50 And, you know, Hugh Grant is charming, always charming, and that makes this my third pick. Music and Lyrics – go watch it if you haven't watched it yet. I think you'll enjoy it. Lexi 46:59 He's kind of like the British, Greg Kinnear, isn't he? Ben 47:04 Yeah, yeah. Lexi 47:05 Or Greg Kinnear is the American Hugh Grant. Ben 47:08 Yeah, that sounds better. I think that's the way we put it. Greg Kinnear is an American Hugh Grant, with less staying power. Lexi 47:15 Yes. Yeah.Ben 47:18 I mean, what's that new movie that's Guy Pearce that was like Colin Farrell and Hugh Grant and is like a... [pause] Woof. We're bad at this. It's like a a crime movie.Lexi 47:33 Is it, like, The Gentlemen?Ben 47:33 A British crime. Is that what it's called? The one with the blond guy that looks like Thor that isn't Thor.Lexi 47:39 Yeah, that's Charlie...Ben 47:41 Yeah, yeah.Lexi 47:42 The Gentlemen.Ben 47:42 Yeah, Charlie Hunnam and is that called The Gentlemen?Lexi 47:46 Yeah.Ben 47:46 Yeah, it's a great one and Hugh Grant's playing this like smarmy-ass tabloid reporter. Lexi 47:53 I'm just double checking. Ben 47:54 It's great. He's wonderful.Lexi 47:55 Matthew McConaughey's in it.Ben 47:57 Yeah. Lexi 47:58 Colin Farrell. Oh, yeah. That's a great... Have you seen the TV show?Ben 48:02 There's a TV show based off of this?Lexi 48:05 Yeah, it's on Netflix. There's a series now that's kind of in the same universe. It is excellent. Ben 48:09 Oh, wow. No, I haven't, so there's a drop. Lexi 48:10 Yeah, Guy Ritchie also works on that one too. It's wonderful. Ben 48:16 Hugh Grant's very likeable and hilariously this is not Notting Hill, which other people might choose as his more prominent romcom adventure, but...Lexi 48:27 I'm just making sure. Yeah. Charlie Hunnam, Michael McConaughey...Ben 48:32 Is he in Love Actually?Lexi 48:32 Who? Charlie?Ben 48:35 No, Hugh Grant.Lexi 48:37 Yes, he is. He's the prime minister.Ben 48:37 Is he the president or I mean the premier-- yeah, prime minister. [chuckles] And he's the one that basically has the really inappropriate relationship with his staffer. Lexi 48:45 There's a lot of inappropriate relationships in that whole film, but yes. Ben 48:50 What I wanted to do, since we were talking about how great the response was on Instagram, is just shout out some of the favourites from the listeners here.Lexi 48:58 Yeah, do it.Ben 48:58 Somebody suggested that... Oh, username... I'm bad at this. We don't usually actually remember to call people out on the show, so... @timothywinchester offered up a classic romantic comedy called I've Got Your Number, and they suggested that it's more fun than they expected. For worse, the same person—Timothy Winchester—offered up Holiday in Handcuffs, which looks like a Hallmark movie with that dude from Saved By the Bell and, for some reason, they're handcuffed together.Lexi 49:30 Oh.Ben 49:30 I don't know. Let's keep going. What else we got? The F Word is a recommendation from somebody.Lexi 49:36 Ainsley? Ben 49:36 Was it Ainsley?Lexi 49:38 Yes, Ainsley suggests The F Word. Ben 49:41 Also known as What If? in other countries. Yeah, for some reason I can't see who actually sent these in to me anymore. Lexi 49:46 Oh, I can kind of see here, I can see Dave, who was just recently on the podcast, Dave Stone, said PS I Love You is a great romantic comedy. Ben 49:54 Oh, cool. We got...Lexi 49:58 Ryan Webb says the worst is Love, Actually. Ben 50:02 Of Rooked podcast – our homies over at Rooked.Lexi 50:05 Of Rooked podcast.Ben 50:05 I would say sister podcast. Mother podcast? Brother podcast. Anyhow, Ryan. Lexi 50:11 Yeah, probably mother podcast. The best is She's All That. Ben 50:15 As they posit, it's a prequel to the Scooby-Doo movie. Lexi 50:19 What else do we have here? We have @photoguy79 says How to Lose a Guy in 10 Days is the best, but only for the bullshit scene. Matthew McConaughey 50:27 Lexi I think you're running away. Drew Barrymore 50:32 Why don't you save your mind games for your next bet? Okay, I am not running away.Matthew McConaughey 50:36 Bullshit.Drew Barrymore 50:36 [softly] Excuse me. Matthew McConaughey 50:39 [softly] You heard me. [romantic music plays] [softly] Bullshit.Lexi 50:44 What else we have? Ling Zena has a couple – While You Were Sleeping, probably the biggest one, Irish Wish, is a cool premise but with zero chemistry and the friendships make no sense. Ben 51:02 It's a Lindsay Lohan romcom.Lexi 51:03 Yeah. And, I feel like that was like her comeback movie.Ben 51:07 Her attempted revival.Lexi 51:07 Like, she wanted... This was going to be... Yeah.Ben 51:10 Yeah. Did not work. And the same user gave us While You Were Sleeping, which I enjoyed, I remember watching that, but it is a weird premise, as well...Lexi 51:20 It is.Ben 51:21 ...where Sandra Bullock is so in love with--Lexi 51:24 --a person she doesn't even know because she's--Ben 51:25 With Peter Gallagher. Yeah, because she sees him at the train.Lexi 51:30 Yeah. She's made up this fake world for themselves. Ben 51:31 This delusional relationship, and then eventually, that all comes to light and it's terrible, but she falls for his brother, Bill Pullman... RIP.Lexi 51:38 [laughs] Aw.Ben 51:40Peter Gallagher, if you don't recall, is Sandy Cohen from The OC. [sings along with OC theme song] Dana-nana-na-na-na. California, here we come. [speaks] Right, that's enough. So, thank you for submitting those. Lexi 51:52 Yeah.Ben 51:52 I think that's everybody. Lexi 51:53 Yeah, yeah. And we have some runners-up to kind of throw down. We won't go into big detail, but there's a lot of really great ones. I'm going to throw out there 10 Things I Hate About You. Ben 52:03 Yeah, yeah. That's on my list of runners-up as well. 10 Things I Hate About You is fantastic. We got some Joseph Gordon Levitt and his brother, Heath Ledger. Have you ever seen those memes where they put like their faces together and it looks like the same guy? [Heath Ledger sings Can't Take My Eyes Off Of You]Lexi 52:16 Yeah, if they're the same person. Julia Stiles.Ben 52:18 Julia Stiles.Lexi 52:17 There's Alexis from... Well, Alex, from Alex Mack.Ben 52:24 I don't know.Lexi 52:24 You never watched Alex Mack?Ben 52:27 No.Lexi 52:27 [gasps] Ben, what were you doing in the '90s?Ben 52:30 It's the blonde one, though, but I--Lexi 52:31 It's The Secret World of Alex Mack. Like Alexis...Ben 52:34 But I I mean, I know who you're talking about and I had a huge crush on her when I was younger. Yeah. 10 Things I Hate About You is just fantastic because of Heath Ledger's bleacher scene. Lexi 52:44 Larissa Oleynick. Thank you. Sorry.Ben 52:46 No. Please.Lexi 52:46 There we go.Ben 52:48 Heath Ledger's dancing up and down the bleachers bit is pretty fantastic. Lexi 52:54 Yeah, it's a great one. So, 10 Things I Hate About You, Bridesmaids – another one about, like, finding yourself before you can care for others. You have to care for yourself.Ben 53:04 Yep.Lexi 53:05 Really great. And another one where a friend comes forward and says, "You're not doing well. I care about you. You got to get your shit together," so great, great movie.Ben 53:15 Maya Rudolph plays the friend who comes forward and is like, "You are effing this all up."Lexi 53:20 Well, she's actually-- there's a couple of people that go forward and kind of say that. Sookie St. James actually sits her down and says, "Get your shit... Better get your poop in a group." Maya Rudolph shits in the street. Ben 53:31 Yep. Yep. Yes, diarrhea. [blows raspberry] Diarrhea. If you're sitting in a Chevy and you're feeling something heavy...Lexi 53:38 Oh, what have I done?Ben 53:40 Diarrhea. [blows raspberries]Lexi 53:40 I'd also like to throw out The Princess Bride. That was what I swapped out Baby Mama for.Ben 53:46 Mm-hmm, mm-hmm.Lexi 53:47 I love The Princess Bride. I think that it is--Ben 53:49 [imitating Peter Cook] Mawage. Twoo wuv.Lexi 53:52 There's so many great moments in that movie about love and friendship. Ben 53:56 "Witch, get out of here!" "I'm not a witch. I'm your wife."Lexi 54:01 Perseverance. Whenever anybody asks me to like, "Hey, what are you up to? You never post pictures of yourself on Instagram," I always send them a picture of Miracle Max and I say, "I'm not looking my best these days," and then I post that, and people... I like to laugh, Ben. I like to laugh.Ben 54:17 I wouldn't say you look that much like Miracle Max. Passing resemblance at most. Lexi 54:22 Thank you, but I feel like I do, at my best. But anyway, great movie. Andre the Giant. Delightful.Ben 54:24 Yeah. Uh-huh. Absolutely. It is a delight. Another one I wanted to talk about is The Notebook. It's not one of my faves. I just like the fact that Ryan Gosling apparently did not get along so much with Rachel McAdams that they hate each other to this day.Lexi 54:43 Really?Ben 54:43 Yeah, they apparently just did not gel on set. Because it was everybody's favourite romance movie when it came out. It was a huge hit and I just love that little factoid that they apparently just did not work well together to the point that they still dislike each other. Lexi 54:59 [laughs] Hey, whatever. The working relationship--Ben 55:04 The Wedding Singer. Drew Barrymore is a great romcom star. Lexi 55:07 Ah yes, she is. And Adam Sandler is a really good opposite for her. Ben 55:11 Yeah. And we get a redo with them as well, later on, in kind of the same way that we got Sleepless in Seattle and You've Got Mail. We've got 50 First Dates, which is actually a super charming film. Lexi 55:20 It is.. And there's a song in there that I sing to myself in the car all the time. Ben 55:25 Which song is? Lexi 55:28 [sings along to Forgetful Lucy by Adam Sandler] Cracked her head like Gary Busey. [Ben laughs] Bum, bum, bum. [speaks] It's such a great little. He's a good singer, Adam Sandler. Ben 55:37 The more I think about it, the more I really like that film, the way that it ends with just sort of like finding a way forward together, even though things can't be the way they were initially, and I think that's--Lexi 55:47 Yeah, or the way they want it.Ben 55:50 Yeah. And I think that's kind of sweet and beautiful is that it's still worth having, [song continues] even though it's changed and it's harder and there's more to it. There's more difficulty. It's kind of about-- I mean it's literally about an injury, a life-altering injury for a person, but it's, you know, kind of about the idea of like for better or for worse sort of idea of a relationship and caring for a partner as their health needs change. And, that's kind of-- that's romantic.Lexi 56:16 Yeah. Well, it's unconditional love. Ben 56:19 Yeah. There you go. Thank you for summing that up in two words [chuckles] what took me about 50 paragraphs? I am AI. You can tell that we live in an AI because I am just spewing out nonsense that I've heard before.Lexi 56:33 What else we got? Ben 56:34 Groundhog Day, I want to talk about because I love Groundhog Day. I think it's funny. As a romcom though, it is disgusting. Lexi 56:43 It's all about manipulation, but...Ben 56:46 Yeah, exactly. Again. He never learns. Bill Murray's character never learns to be a better person. He learns how to game the system to get what he wants.Lexi 56:54 Yes. Yeah.Ben 56:54 It is literally the wrong message to be sending to people that want to find a healthy relationship. Lexi 57:01 But, at the same time, too, I feel like he's punished for it because he's basically in purgatory. Like, somebody did the math and something like he lived 9,000 years or something.Ben 57:10 Yeah. Yeah, to get all these things right. Lexi 57:12 He is a horrible person, but, yeah, he's stuck in his own personal hell. Ben 57:18 I don't feel like this movie gives us a change for him.Lexi 57:21 No.Ben 57:21 More that he just finally gets the game right and presses all the controls in the right way.Lexi 57:24 Yeah, absolutely. Ben 57:26 He never engages. I mean, I guess the idea is that he finally, when he stops trying and actually engages, is sort of the premise, but I never really felt that way. I felt like he's just trying. Lexi 57:37 Figured out how to game it. Yeah.Ben 57:38 Yeah, exactly. But anyhow, it's still a fun film and I quote what's-his-name who plays Ned. "Ned? Watch out for that step. It's a doozy."Lexi 57:53 That's a good one.Ben57:55 Gross Point Blank is a blast. I like the idea of an assassin romcom.Lexi 58:00 Where he goes back to his high school reunion, trying to make something of himself.Ben 58:02 Yeah. Yeah. Assassin is in the doldrums because he's like, "Oh, I never saw myself being an assassin. Let me go back to my hometown and see if I can find myself again."Lexi 58:14 Tom Cusack is a is another good romantic comedy guy. Ben 58:16 Did you just call him Tom Cusack? Lexi 58:17 What did I say? Ben 58:18 I think you said Tom. But, I like Tom Cusack. He's like his evil twin brother...Lexi 58:23 What's his actual...? John Cusack.Ben 58:24 ...for Johnny, Johnny. Lexi 58:25 Oh, god.Ben 58:30 Yeah, and you get Dan Ackroyd as a kind of menacing villain. Lexi 58:30 Yeah. Mm-hmm.Ben 58:31 With a bad haircut. Lexi 58:34 Many levels to hi
Middle Kingdom is a fun action RPG with a mysterious past that starts at the BBC Micro, runs through the Dragon 32, and ends in...Brazil?! Find out on the CoCo Show! Special thanks to Buck Owens for helping me sort this one out!
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
I’m Just a Country Song with Country Girl Dr. D & Blu Waters
When you face a challenge, do you hang on for the ride or simply give up, no matter the danger of a worst-case outcome?This week's song was released in December 1964 by country music band Buck Owens and the Buckaroos. In 1999, it was inducted into the Grammy Hall of Fame. Buck once said he got the idea for the song because he heard a slogan for Esso (gas station): "Put a tiger in your tank.”In the song, he's dating a woman who is dragging him through life and running him absolutely ragged. He knows it's going to end poorly but is helpless to stop it. What would you do if you were in the same situation? “I've Got a Tiger by The Tail” describes what it's like to associate with something so powerful and potentially dangerous, and yet somehow you have to solve the difficult problem as there's no way to let go of that tail. The phrase derives from the Chinese proverb, “He who rides the tiger is afraid to dismount.”Join me and Nashville recording artist Blu Waters, the voice behind the songs we feature in each episode. The same songs guide the reading from my soon-to-be-published book I'm Just a Country Song: Three Chords and Only My Truth.“To be ourselves exiles us from others. And yet to comply with what others want causes us to be exiled from ourselves.” - Darlene ChambersIn This Episode:- What sparked Buck Owens to write the song “I've Got a Tiger by The Tail”?- Have you ever had a “tiger” relationship that you were afraid to let go of for fear that the outcome would be worse than hanging on for dear life?- Let's sing along with Blu as she sings “I've Got a Tiger by The Tail”- Lyrics and chapter reading- Teaser and quiz for episode 9 (“The Dance”)Connect with Blu Waters:Website - https://www.chooseyourblu.com/Facebook - https://web.facebook.com/iambluwaters/Instagram - https://www.instagram.com/iambluwaters/TikTok - https://www.tiktok.com/@iambluwatersYouTube - https://www.youtube.com/@iambluwatersConnect with Darlene Chambers:Website - https://fullcircles.biz/Facebook - https://www.facebook.com/darlene.chambers.37625/YouTube - https://www.youtube.com/@ImJustaCountrySong
That's Country Music! NZ Singer/Songwriter Releases Third Album, "Solstice Canyon Loop"#singersongwriter #countrymusic #newalbum #tedbrown #newmusic Best known as longtime guitarist, vocalist and collaborator in the Greg Johnson Band, Ted releases his third studio album Solstice Canyon Loop. Tracked at PLYRZ Studio in Santa Clarita CA June 27-28, 2020, the songs tell stories of Ted's journey from his hometown of Auckland NZ to his current home of Los Angeles CA where he's lived since 2002.The album “Solstice Canyon Loop” is a reminiscence of a journey. From Ted's crazy, dangerous troubled twenties in my hometown of AK New Zealand, to his restoration to sanity in Los Angeles CA. He was able to start again in the U.S. and had time to really pause and reflect on this during the lockdown months of the pandemic. Plus, Ted really got in touch with the memory of some of those who never made it.Calling on members of his 70's Country cover band, The Electric Fields, Ted assembled some of his favorite L.A. guys to play on the record. Notably, Dusty Wakeman on Bass (Dwight Yoakam, Lucinda Williams, Buck Owens), Mark Hart on Keys (Crowded House, Supertramp), Joel Martin on Guitar (Grateful to the Core, Pearl), Tim Walker on Pedal Steel (Glen Campbell, Jimmy Webb, The White Buffalo) and CalArts Alum and musician extraordinaire Rob Anderson on Drums. Ben King, Ted's Greg Johnson bandmate, added sweet harmonies from his studio in NZ.First Single “Mr O'Neil” on 3 hourly rotate here:https://www.audacy.com/stations/tomorrowshitstodayTo purchase:Apple Music: https://music.apple.com/us/album/solstice-canyon-loop/1730233477Spotify: https://open.spotify.com/album/2RqjSVsS3KCHuHN8UosZvl?si=hvH7oPcLTW2glGEKM6pUYwWebsite: https://www.tedbrownsongs.net/Bandcamp: https://tedsings.bandcamp.com/album/solstice-canyon-loopFacebook: https://www.facebook.com/tedsingsThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteMonstrosityMonstrosity has celebrity guests, deep paranormal discussions, and comedy gold.Listen on: Apple Podcasts SpotifyFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!
This week's show, after Jim sings a 1996 Sloan slab: brand new Fontaines D.C., J. Robbins, Belle & Sebastian, TV Smith, Real Estate, F.O.D., and Armoires, plus Johnny Burnette, Buck Owens, Gandalf, Neil Young & Crazy Horse, Scientist, Lewis Pruitt, and...
Jesse Daniel has been a well respected name within traditional country music fans for years. Known for his relentless work ethic, roaring live shows and true to life songwriting, he has earned his place among the heavy hitters of today's industry. The California native is blazing the trail for a new wave of traditional artists, bringing his kind of country music to stages all over the world. With three full length studio records and a newly released live album, he continues to rival the greats of the genre with his level of creative output. There are many making traditional country music in modern times, but there is no one making it like Daniel; his sound is uniquely his own, while rooted in the tradition of his Bakersfield heroes like Merle Haggard and Buck Owens.His new single titled “Workin' Hard (Day and Night)” is a tip of the hat to Merle and is prominently featured on Netflix as the theme music for comic Dusty Slay's new comedy special “Workin' Man”. Jesse and his band have an extensive US and European tour booked for 2024 and there is no telling where this new year may take him.
This week's song tells the tale of someone who has been rejected and, being heartbroken, can be in the movies and play the role of someone sad and lonely without knowing anything about acting–just “act naturally.”In essence, the song gives us hope that we can continue believing in ourselves even in the face of rejection, and one day, we will finally take center stage. I hope this song inspires you.So join me and Nashville recording artist Blu Waters, the voice behind the songs we feature in each episode. The same songs guide the reading from my soon-to-be-published book I'm Just a Country Song: Three Chords and Only My Truth.“Act Naturally” comes from the phrase we often tell each other when we are nervous. Just be yourself; it will all work out. Although it is not easy to face rejection, this upbeat song is about believing in YOU. And if you do, you might take the world's centerstage.” - Darlene ChambersIn This Episode:- Who originally wrote and sang the song “Act Naturally”?- Who is the protege of Buck Owens who re-introduced the song?- A lesser-known fact about the song- Why the song chose me- Let's sing along with Blu as she sings “Act Naturally”- Chapter reading- Teaser and quiz for episode 4 (“Mama Tried”)Connect with Blu Waters:Website - https://www.chooseyourblu.com/Website - https://dot.cards/blucrewFacebook - https://web.facebook.com/iambluwaters/Instagram - https://www.instagram.com/iambluwaters/TikTok - https://www.tiktok.com/@iambluwatersYoutube - https://www.youtube.com/@iambluwatersConnect with Darlene Chambers:Website - https://fullcircles.biz/Facebook - https://www.facebook.com/darlene.chambers.37625/YouTube - https://www.youtube.com/channel/UCw8gxehSF54DV-uocFUkjAQ
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/My first memory of seeing a guitar in person was seeing a Buck Owens “American” guitar leaning against a couch at a neighbor's house while visiting my grandmother in the mid-1970s. Soon after seeing it, I understood its significance by seeing Buck play an identical one on the Hee Haw television show. Later, via the influence of Dwight Yoakam, Emmylou Harris, and the Desert Rose Band in the 1980s, I would dig back and start listening to all of the great albums that Owens made through the 50s and 60s that in turn influenced my heroes. Through the years, I kept looking for one, but one was never up for sale nearby, as I really wanted to see what this Harmony-made mail-order guitar was like. It wasn't until recently that I was able to test out and acquire one of these red, white, and blue beauties from one of the fine chaps at Glaser Instruments, and I was able to finally join the “Buck Club.” This of course threw me down the rabbit hole of finding out everything that I could online from sites like SilvertoneWorld.Net and even calling up Buckaroo Jim Shaw, who continues to run Buck's Crystal Palace club in Bakersfield, CA to get the full low-down on the story behind it. And though Owens is certainly the star here, I have to give Pat Smear of Nirvana, and the great Ryan Adams credit for their role in raising the “cool” factor on these crazy 70s creations. To close the episode, I share the story that Jim Shaw shared with me that they sold hundreds of warehoused versions of the Buck models to cover their expenses during the pandemic. It was hard for me not to see this as Owens working things out from beyond the grave. Special thanks to Buckaroo Jim Shaw, and Buck Owens' Crystal Palace.www.BuckOwens.comAlso for the wonderful information gathered from Silvertone World.https://www.silvertoneworld.net/acoustic/1219buckowens/1219_Buck_Owens_American.html#askzac #buckowens #buckowensamericanSupport the show
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.
Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. 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 available, on "Spinning Wheel" by Blood, Sweat & Tears. 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 There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life. Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women. There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records. Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz. To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made. And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time. Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one. He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators
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