Podcasts about buick roadmaster

What if the dashboards of tomorrow's cars were inspired by the coolest concepts of the past? Join us as we embark on an automotive journey that begins with an open therapy session between Mike and Jeff, setting the stage for Jeff's deep dive into the world of innovative car dashboards. Marrs then shifts our focus to the luxurious 2025 Infiniti QX80, its modern features, and powerful performance. We also tackle the buzz surrounding Elon Musk's potential role in a government efficiency commission proposed by Donald Trump, considering how Musk's business strategies could revolutionize governmental reforms, drawing parallels from AT&T's history and Stellantis' ongoing restructuring.Next, get ready for a lively and entertaining Classic Car Price Guessing Game! We exchange stories about engine mishaps and their impacts on races, while attempting to guess the selling prices of unique treasures like the 1972 Ford Gran Torino and 1960 Cadillac Eldorado Biarritz from Hemings' weekly roundup. Highlights include our playful yet insightful talks on the 1963 Cadillac Coupe de Ville, 1969 Chevrolet Nova, 2012 Ford Mustang, and the iconic 1983 Chevrolet C10 square body truck. The 1993 Buick Roadmaster station wagon with its nostalgic wood cladding also makes an appearance, sparking both laughter and admiration.Finally, travel back to the 1980s with us as we explore futuristic and retro car concepts that were way ahead of their time. From the Lamborghini Athon's sensational electronic readouts to the Oldsmobile Incas' full-width instrument panel, and the VW Orbit's advanced touch-sensitive buttons, these pioneering designs offer a glimpse into an imaginative past. We wrap up with a look at the sci-fi-inspired Peugeot Quasar, the avant-garde Citroën Karen, and the iconic yet problematic Chevy Corvette C4. We conclude this episode with a comprehensive review of the 2025 Infiniti QXBe sure to subscribe for more In Wheel Time Car Talk!The Original Lupe' Tortilla RestaurantsLupe Tortilla in Katy, Texas Gulf Coast Auto ShieldPaint protection, tint, and more!ProAm Auto AccessoriesProAm Auto Accessories: "THE" place to go to find exclusive and hard to find parts and accessories!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.---- ----- Want more In Wheel Time Car Talk any time? In Wheel Time Car Talk is now available on iHeartRadio! Just go to iheartradio.com/InWheelTimeCarTalk where ever you are.----- -----Be sure to subscribe on your favorite podcast provider for the next episode of In Wheel Time Car Talk and check out our live broadcast every Saturday, 10a - 12noonCT simulcasting on iHeartRadio, YouTube, Facebook, Twitter, Twitch and InWheelTime.com.In Wheel Time Car Talk podcast can be heard on you mobile device from providers such as:Apple Podcasts, Pandora Podcast, Amazon Music Podcast, Spotify, Google Podcasts, iHeartRadio podcast, TuneIn + Alexa, Podcast Addict, Castro, Castbox and more on your mobile device.Follow InWheelTime.com for the latest updates!Twitter: https://twitter.com/InWheelTimeInstagram: https://www.instagram.com/inwheeltime/https://www.iheart.com/live/in-wheel-time-car-talk-9327/https://www.youtube.com/inwheeltimehttps://www.Facebook.com/InWheelTimeFor more information about In Wheel Time Car Talk, email us at info@inwheeltime.comTags: In Wheel Time, automotive car talk show, car talk, Live car talk show, In Wheel Time Car Talk

SummaryIn this episode, Matt and James discuss their dream car garage from 1992. They start by talking about their summer plans and giving props to James for hosting the previous episode. They then dive into their topic and share their picks for a sports car, truck, family hauler, daily driver, and wild card from 1992. Matt chooses a 1992 Acura NSX as his sports car, while James selects a 1992 BMW E36 M3 Euro. For trucks, Matt chooses a 1992 GMC Yukon, and James picks a 1992 Toyota Pickup Deluxe Cab 4x4. Their choices for family haulers are a 1992 Mitsubishi Montero for Matt and a 1992 Mercedes-Benz S-Class 560 SEL Sedan for James. They wrap up the episode by discussing the appeal and features of their chosen vehicles. In this conversation, Matt and James discuss their choices for daily drivers, family haulers, and wild cards from the year 1992. Matt considers a 1992 Lexus LS 400 as his daily driver, praising its value and build quality. James opts for a 1992 BMW E34 M5, highlighting its performance and sleek design. For their family haulers, Matt leans towards a 1992 Buick Roadmaster wagon, while James considers a 1992 Mercedes-Benz 560 SEL. As for their wild cards, Matt dreams of owning a 1992 McLaren F1, while James selects a 1992 Acura NSX. They also discuss their plans for car modifications and restoration projects.

Prepare to be whisked away to the 41st annual Houston AutoBoative Show, where new cars, truck and boats are available for consumers to check out side-by-side.  In our New Car Showroom, we take a look at the exquisite 2024 Lexus LC500 Coupe. Along with the roar of its 5.0-liter V8 engine, there is the new ultrasonic blue mica hue as we explore every curve and contour of this grand tourer. Inside, we find a suite of luxury comforts and cutting-edge tech that make the LC500 a grand touring candidate. And while we're talking opulence, don't forget the sticker shock – we'll reveal just what it takes to call this automotive masterpiece your own.Switching lanes, we jump into the nostalgic world of vintage cars, sparking a debate you won't want to miss over the fluctuating prices of classics—each with a backstory more fascinating than the last. From the gangster-era 1937 Cadillac LaSalle to the family road trip staple, the 1996 Buick Roadmaster station wagon, we'll tease apart the threads of history that make these cars more than just vehicles. Then, we rev the engines on dyno days and motorcycle tuning, sharing insider knowledge on enhancing bike performance, before we tow the conversation over to the nitty-gritty of picking the best diesel truck for your hauling needs with insights from the experts at DC Powersportz and Marine. Buckle up for a ride that's as informative as it is thrilling, with horsepower and history in the driver's seat.Lupe Tortilla, sponsor Tailpipes & Tacos Lupe Tortilla in Katy, Texas, is host to the quarterly Saturday morning cruise-in!Sponsored by Gulf Coast Auto Shield Paint protection and more!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.---- ----- Want more In Wheel Time Car Talk any time? In Wheel Time Car Talk is now available on iHeartRadio! Just go to iheartradio.com/InWheelTimeCarTalk where ever you are.----- -----Be sure to subscribe on your favorite podcast provider for the next episode of In Wheel Time Car Talk and check out our live broadcast every Saturday, 8a-11aCT simulcasting on iHeartRadio, YouTube, Facebook, Twitter, Twitch and InWheelTime.com.In Wheel Time Car Talk podcast can be heard on you mobile device from providers such as:Apple Podcasts, Pandora Podcast, Amazon Music Podcast, Spotify, Google Podcasts, iHeartRadio podcast, TuneIn + Alexa, Podcast Addict, Castro, Castbox and more on your mobile device.Follow InWheelTime.com for the latest updates!Twitter: https://twitter.com/InWheelTimeInstagram: https://www.instagram.com/inwheeltime/https://www.iheart.com/live/in-wheel-time-car-talk-9327/https://www.youtube.com/inwheeltimehttps://www.Facebook.com/InWheelTimeFor more information about In Wheel Time Car Talk, email us at info@inwheeltime.comTags: In Wheel Time, automotive car talk show, car talk, Live car talk show, In Wheel Time Car Talk

Victoria Scott is our guest host this week. We'll check out the new Dodge Charger's fully unveiled exterior and the major upgrades to the Toyota GR Yaris. Victoria will tell us about her trips driving a Buick Roadmaster and Honda Beat. The cheap car challenge will be to spend $7,000 on an off-road capable vehicle preferably with a locking differential.

With Stewart Howden and Classic Car Specialist Steve Saffier checking out new inventory, where classic cars found new homes and more. The "Cars in Movies" segment recalls "Talladega Nights" and details of a few classics in the building are revealed including a "flawlessly restored" '56 Buick Roadmaster, a '37 Cord and a '69 Firebird Convertible.

Ron starts this episode asking if you've talked to your kids – about driving and the car and nurturing the next generation in car basics : takes a call on an 11 Lexus RX350 with a question on replacing the clockspring : answers an email on the possibility of an OBD-3 : takes a call on replacing a timing belt on a 2000 Camry and also answers a question on a 94 Buick Roadmaster and he accidentally emptied the master cylinder : talks about looking for a mechanic. Visit us at: https://www.cardoctorshow.com  See omnystudio.com/listener for privacy information.

Brothers J and Eric discuss the 1996 neo-noir Mulholland Falls. There was so much potential but overall it's kind of a ‘meh' but for two things: Jennifer Connolly and a 1949 Buick Roadmaster convertible.   Housekeeping starts at 36:33 and includes ‘The Roarcast' podcast with Beth Roars, the Ark Music Factory Alison Gold's ‘Chinese Food.'   File length 48:51 File Size 36.1 MB Theme by Jul Big Green via SongFinch Subscribe to us on Apple Podcasts Listen to us on Stitcher Like us on Facebook Follow us on Twitter Send your comments to show@notinacreepyway.com Visit the show website at Not In A Creepy Way

How do I remove stuck spark plugs? 2000 Chevy Silverado - 0Why does my 1995 Buick Roadmaster stall when stopping?  Buying a new Ford Mustang  How do I set My Ford Taurus Keyless Entry? How do I Tell which Oxygen Sensor is which? Ford Taurus 1951 Chevy Truck Fuel Vapor Lock and tank Sprint Car Racing Safety Team How to test for a misfire on a car fuel injection 2014 Toyota Corolla How to check power windows 2004 Buick Lesabre How do I check a Master Cylinder? 2012 Impala  Shannon's friends from Spalding Auto Parts stop in for a visit

#TapeDeck #SixDiskChanger #BuickRoadmaster #Buick #1993 YouTube Channel: https://www.youtube.com/MichaelGarzaShow Mint Mobile: http://fbuy.me/t5tLM Discover it Card: https://refer.discover.com/s/MICHAEL6043675 Spotify Podcast: https://open.spotify.com/show/6dBGAg9qohEoWba5VMPMP8 Rumble!: https://rumble.com/MichaelGarza Garza Media: https://garzamedia.net Capital One: https://capital.one/3IqGDer Robinhood: https://join.robinhood.com/michaeg4251 The Michael Garza Show is not financial advice but only for entertainment and educational purposes. I am not a financial advisor, so invest at your own risk. I am an entertainer at heart and an experienced long-term investor. I do not teach day trading or those incorrect short-term investing strategies. I believe that buy, hold and diversification are the best strategies you can have in the markets. 1993 Buick Roadmaster tape deck, buick, roadmaster, buick roadmaster, 1993, wagon, fix, how to, sedan, jay lenos garage, 1991, 1992, 1996, 5.3, swap, swapped, lsx, estate, buick roadmaster wagon, buick roadmaster estate wagon, cassette, cassete, casette, cassette player, broken, broken cassette player, fix broken cassette player, jammed, clanking, jammed cassette player, car cassette player, fix car cassette jammed, buick roadmaster cassette player, jammed roadmaster cassette player --- Support this podcast: https://podcasters.spotify.com/pod/show/michaelgarza/support

Episode 96: “The Station Wagon Show: Country Squires, Roadmasters, Vista Cruisers, and whatever Clark Griswold drove”In this episode, producer Phil Tower plus hosts Al Schwinkendorf and John Puhek talk about the much-maligned but now making a comeback station wagon.We spend the first part of the episode talking about a very rare 1996 Buick Roadmaster that is up for auction on the Hagerty marketplace website.The 1996 Buick Roadmaster Estate Wagon was basically a Cadillac with a Buick nameplate. It was decked out with a plush cabin, and a massive V8 and it amazingly offered seating for eight thanks to a collapsible rear-facing third seat. And speaking of what's under the hood, this wagon has a 5.7-liter ‘LT1' V8 which was also found in the C4 Corvette. Buick stopped making this beastly wagon in 1996, marking the last full-size, body-on-frame, rear-wheel drive station wagon produced by an American automakerIt's interesting to note that station wagons reached their sales peak in 1976 when U.S. sales stood at 972,212 and accounted for 10% of all vehicles sold in the U.S. That same year, there were 62 station wagon models available to American car buyers. You read that correctly… 62 different station wagon models!We also talk about the amazing Ford Country Squire wagon... Another huge, best seller. And believe it or not, there seems to be a resurgence in wagons so to speak, including the diehards to attend the Radwood Festivals around the country.And this wouldn't be a show about station wagons if we didn't talk about the iconic and lovably ridiculous Griswold Family Truckster wagon. Oh, yes, we went there.And then Al decided to reminisce about the amazing HearseFest. Yes, it's really a thing and we have the link so you can learn more about it below.Michigan's AutoTalk podcast is available on Apple Podcasts, Spotify, iHeartRadio, Google Podcasts, Amazon Audio, Spreaker.com, Deezer, and Podcatcher.Please don't forget to LIKE our Facebook page! Thank you for listening. If you like our podcast please do share it with a friend!Online links:1996 Buick Roadmaster Estate Wagon on Hagerty Marketplace HearseFest RadwoodGriswold Family Truckster

Ron starts this episode talking about being cranky and things that got under his skin this past week and his week in the shop : talks about the 14 CRV that didn't start and things were intermittent : takes a call on a 94 Buick Roadmaster that is blowing lukewarm air and throwing a code : takes a call on an 05 Chrysler 300C with a non working cruise control : takes a call regarding the usefulness of all wheel drive seeing as everyone and their uncle drives one in places where AWD is not necessary : and answers an email about ATV batteries. Visit us at https://www.cardoctorshow.com  See omnystudio.com/listener for privacy information.

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

No one was overly surprised when this 80's flick dominated the 1989 Academy Award ceremony. It featured one of America's biggest movie stars showing a little gravitas as a self-absorbed hustler who learns the importance of family. It had an Oscar mainstay going deep into affliction, playing a character with a disorder that not many everyday moviegoers knew much about at the time. And at the helm, a respected director whose films had been gaining in prestige and popularity throughout the decade. So grab some cheese balls and apple juice before you crank up the classic Buick Roadmaster convertible as Tim Williams and guest co-host, JB Huffman from "Manly Movies" Podcast", discuss “Rain Man” from 1988 on this episode of the 80's Flick Flashback Podcast! Here are some additional behind the scenes trivia we were unable to cover in this episode: Golino auditioned for lead roles in Pretty Woman and Flatliners, but both times she lost the part to Julia Roberts during the final audition.[18] She was first runner-up for both roles and, in the case of Pretty Woman, she revealed many years later: "I was in the running until the final audition: it came down to Julia Roberts and me. The director asked us to walk in the same corridor, wearing the same clothes and makeup. As soon as I saw her [Roberts], I knew that she would have been chosen. And since she knew that, she told me: 'Go and get them, big mama!' I wouldn't have dared to say that to my rival. I would have been good in that film but she was perfect”. "Wallbrook", the building at the back of the long, tree lined drive, is actually Saint Anne's, a convent that houses over two hundred nuns, and is located in Melbourne, Kentucky. In the movie, when Charlie removes Raymond from Walbrook, we see them walking down a long oak tree lined driveway. In 2007, many of these oak trees had become diseased, forcing their removal (replacements were to be planted). Before the trees were cut down, several people came to the grounds of the convent and re-created the scene where Raymond and Charlie walk down the drive. Director Barry Levinson admitted that Ray's comment about Qantas being the only aircraft company to never have had a fatal crash was made up, and that he didn't know if this was true. In reality, Qantas has had eight crashes, all prior to the making of the film, but they were all propeller-driven planes, not jets. Sources: Wikipedia, IMDB, Rotten Tomatoes, Box Office Mojo https://www.levinson.com/ https://www.britannica.com/ https://www.looper.com/362539/the-untold-truth-of-rain-man/ https://www.avclub.com/rain-man-revisited-1798212172 Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://anchor.fm/moviviews80sff/message Support this podcast: https://anchor.fm/moviviews80sff/support

The Buick Roadmaster is last great American sedan / wagon ever made. But which one is the best one? Are any of them worth it? And do you have to buy New Balance sneakers when you get one? Steve and Adam are all over these and other questions as they discuss which Roadmaster is Best In Class.

This week on The Best of Car Talk, is Phil's Buick Roadmaster making noise because of a steering problem or because he needs to make 20-point turns to navigate the narrow streets of Our Fair City? Elsewhere, Fred doesn't know whether he should listen to his mechanic or his FSTB (Future Son-in-Law To Be) on how to start the Alfa that's been sitting in his garage for a year. Will siding with the mechanic doom Fred's daughter's marriage? Also, Steve's driver's window glare screen is now a stuck-in-the-door glare screen; Alison's Golf may be suffering from a "cracked breather" and "achin' plugs"; and is Judy's Escort sending smoke signals that it won't make it to the moon? All this and more, this week on The Best of Car Talk.

Neil Young nació en Toronto, de la provincia canadiense de Ontario, el 12 de noviembre de 1945, hace 75 años. Una razón más que suficiente como para que hoy celebremos su cumpleaños número 75 y dediquemos el tiempo de TOMA UNO a escuchar algunas de sus canciones que no suelen ser habituales cuando hablamos de su figura. la de un artista cuya infancia fue especialmente dura, sobreviviendo a la diabetes, polio, epilepsia y teniendo que sufrir el divorcio de sus padres. En 1960, se trasladó con su madre a Winnipeg, en la provincia de Manitoba, y la música pasó a ser su principal refugio. Aprendió a tocar el ukulele, pasó a la guitarra y comenzó a tocar por distintas bandas de la zona. El resto es historia… No serán muchos los que pongan en tela de juicio que Neil Young posee un talento excepcional. Su carrera se inició como miembro de los Squires en la ciudad canadiense de Winnipeg, durante 1963. A partir de entonces, la historia nos ha dejado sus aportaciones a Buffalo Springfield, su unión con David Crosby, Stephen Stills y Graham Nash, y ahí están sus innumerables grabaciones en solitario. A sus películas y documentales hay que añadir también esa continua ampliación de fronteras artísticas. “Get Back To The Country”, uno de los 10 cortes que conformaron oficialmente el álbum Old Ways, una puesta al día de la country music al comienzo de la década de los 80. Para aquel trabajo invitó a Waylon Jennings, ya que sus voces armonizaban bien y contó con nombres tan señalados como los de Lynn Anderson, Gail Davies y, como no, Willie Nelson. Con él cantó a dúo en "Are There Any More Real Cowboys?". Los International Harvesters estaban compuestos en un principio por Ben Keith, Anthony Crawford, Rufus Thibodeaux, Spooner Oldham, Tim Drummond, Karl T. Himmel, Larry Cragg y Joel Bernstein. La segunda formación incorporó a Hargus Pig Robbins, Joe Allen, Matraca Berg y Tracy Nelson. Eran los mejores acompañantes para interpretar aquellos temas en dos giras excepcionales. La apertura en 1985 de aquel álbum nos dejaba una mirada al pasado con “The Wayward Wind”. Neil Young compartió protagonismo vocal con Denise Draper, mientras, entre los invitados, Waylon estaba a la guitarra eléctrica, Bela Fleck se encargaba del banjo y Hargus “Pig” Robbins se sentó al piano. Gogi Grant la convirtió en 1956 en todo un éxito en Estados Unidos, mientras Tex Ritter la popularizaba en Gran Bretaña. Cinco años más tarde, en el 61, la versión de Gogi Grant fue reeditada y Patsy Cline realizó la suya propia para el álbum Patsy Cline Showcase, uno de sus discos fundamentales. El próximo día 25 de este mes de noviembre se cumplirán 44 años de la celebración del histórico concierto de The Band The Last Waltz en el Winterland de San Francisco, California. Entre los invitados estuvo Neil Young que, entre otros temas, realizó esta versión de “Four Strong Winds”, uno de los grandes clásicos de la música folk canadiense que había sido la canción de cierre de su disco del 78 Comes A Time. Sus creadores, Ian & Sylvia, fueron la quinta esencia del folk de aquel país junto a su buen amigo Gordon Lightfoot. Ian Tyson y Sylvia Fricker se encontraron en 1960 y empezaron a actuar juntos muy pronto. Un par de años después aquel “Four Strong Winds” dio título a su Lp de debut. Los impenitentes seguidores de Neil Young saben bien las dificultades para seguir la carrera del canadiense, aunque la edición de sus archivos nos va aclarando un montón de lagunas. En el caso de Oceanside-Countryside, sabemos que tiene que ver con su paso en 1977 por los Triad Studios de Fort Lauderdale, Florida. Quería hacer un disco muy sencillo y personal que terminó convirtiéndose en grabaciones repartidas por hasta seis estudios y dos continentes recogidas en las 10 canciones publicadas en el álbum Comes A Time, que se llamaba en principio Give To The Wind. “Human Highway” abría la segunda cara de Comes A Time, siendo también el título de una película co-dirigida por el propio Young bajo el seudónimo de Bernard Shakey en 1982 y protagonizada por él mismo junto a Dennis Hopper, Dean Stockwell, Russ Tamblyn e incluso miembros de Devo, la banda de Ohio. Hoy hemos oído la versión que realizaron juntos Neil Young y sus viejos compañeros Crosby, Stills & Nash en 1974 para el que iba a ser un nuevo álbum como cuarteto que nunca llegó a completarse. Para celebrar que el pasado 31 de agosto se cumplieron 50 años de la publicación del clásico After the Gold Rush, considerado de forma unánime como una obra maestra del rock, a primeros de diciembre verá la luz una edición especial con los 11 cortes originales más dos versiones de "Wonderin’", un tema descartado en el disco original. La primera versión de las ahora incluidas fue grabada en Topanga, California, en marzo de aquel 1970 y la segunda es una grabación inédita realizada en el Sunset Sound de Hollywood en agosto de 1969 con Danny Whitten, Billy Talbot y Ralph Molina. Es decir, Crazy Horse. Aquellos que tengan en casa el álbum de 1983 Everybody’s Rockin’ recordarán la inclusión de este tema e incluso su publicación en single, pero es evidente la diferencia entre la concepción original que ahora conocemos y aquella en la que le acompañaban los llamados Shocking Pinks. La edición en vinilo que celebra el medio siglo de After the Gold Rush saldrá a la venta a mitad de marzo de 2021 e incluirá “Wonderin’” en un 7”. Neil Young presentaba a sus amigos de los The Stray Gators en directo en febrero de 1973 en Tuscaloosa, Alabama. Eran Tim Drummond, Kenny Buttrey, Jack Nitzsche y Ben Keith. Aquella gira que sirvió de apoyo a la publicación del álbum Harvest no fue nada satisfactoria para el artista canadiense. Había despedido a Danny Whitten y este murió inmediatamente. Pero, tras el enorme éxito de aquel disco, tenía que defenderlo ante grandes audiencias. El resultado fue Time Fades Away, un álbum de malos recuerdos que estuvo sin editarse en CD durante décadas. Pero quedaron muchos momentos guardados en los archivos de conciertos de aquella gira, como el de Tuscaloosa en el que interpretaron la canción que dio título a su álbum más reconocido, Harvest. "Homefires" se grabó en 1974 y Neil Young la ha interpretado en varias ocasiones en directo, incluyendo su gira en solitario de hace un par de años. Sin embargo, nunca se había publicado oficialmente hasta ahora, formando parte del segundo volumen de su Neil Young Archives. El legendario artista fue distinguido como Personaje del Año en la gala del vigésimo aniversario de MusiCares, que se celebró el 29 de Enero de 2010. El cantante y compositor fue premiado en reconocimiento de la influencia de sus logros artísticos, así como su trabajo filantrópico, que ha incluido muchas actividades caritativas a lo largo de los años. Neil Young tenía previsto publicar Homegrown en 1974, dos años después de Harvest, pero lo dejó guardado por el impacto emocional de su ruptura con su novia de entonces. Es evidente que el álbum es un puente entre Harvest y Comes A Time. Se debía haber publicado entre On The Beach y Zuma, pero finalmente apareció Tonight’s The Night, grabado con anterioridad. Dentro de aquella depresión provocada por sus problemas sentimentales, "Try" tiene algún rasgo de optimismo. Es una de las canciones inéditas del proyecto. Además de la voz y la acústica de Neil Young, en la grabación de este corte estaban Levon Helm a la batería, Ben Keith en el steel guitar, Tim Drummond al bajo y Emmylou Harris en las armonías vocales. Las sorpresas han sido habituales a lo largo de la extensa trayectoria de Neil Young. Así llegó hasta nosotros "Long May You Run", la canción que abría y daba nombre al álbum conjunto de Neil Young y Stephen Stills en 1976, un proyecto que los dos músicos anhelaban desde su encuentro en Buffalo Springfield. La inconsistencia mostrada por el canadiense terminó con aquella reunión. Neil Young abandonó la gira en la que la pareja estaba inmersa y se despidió de su compañero mediante un telegrama. En 1993, Neil Young decidió participar en la serie Unplugged de la cadena MTV. Se lo tomó tan en serio que tuvieron que hacer dos sets porque no estaba nada contento con los resultados. Para la promoción de aquello se utilizó esta versión editada de “Long May You Run”, una especie de elegía al primer coche que tuvo Neil Young, un Buick Roadmaster de 1948 que había sido coche fúnebre. El disco salió al mercado esta pasada primavera, 46 años después de que empezara a grabar canciones en aquel mes de junio del 74 y no dejará de hacerlo hasta enero del año siguiente, pasando por estudios de Nashville, en Tennesee, Redwood City y Los Ángeles, en California, en incluso en Londres. "Pocahontas" es un tema de Neil Young que escuchamos en 1979 en su álbum Rust Never Sleeps, aunque el artista canadiense había grabado una versión anterior a mitad de aquella década para el disco que tenía planeado bajo el título de Chrome Dreams, que nunca llegó a editarse. Y esa es la que hoy hemos rescatado. Es posible que el poema de Hart Crane The Bridge de 1930, que tenía a la princesa Pocahontas como eje central, fuera la inspiración para aquella canción que describe fundamentalmente la masacre de una tribu india por parte de colonos europeos. En 1992, el canadiense Neil Young tituló Haverst Moon a su vigésimo primer álbum, que era una especie de secuela de su popularísimo Harvest de 20 años antes. La canción “Harvest Moon” es una perfecta banda sonora para el comienzo del otoño y, aunque pueda parecer que la percusión está realizada con las características escobillas, en realidad fue el barrido de una escoba el utilizado por el batería Tim Drummond. Hoy, en el programa hemos escuchado la versión corte, muy poco conocida. Neil Young estuvo de gira buena parte de los años 84 y 85 con su banda de acompañamiento más cercana a la tradición musical, los International Harvesters, interpretando los temas de Old Ways, que tardó tres años en editarse. El álbum Re-ac-tor se había editado en el 1981 con el apoyo de Crazy Horse, siendo un disco en el que aquellas poderosas guitarras que habían caracterizado su sonido en la década anterior parecían acercarse a las nuevas bandas de la llamada “new wave”. Sin embargo, “Southern Pacific”, que abría la segunda cara de aquel controvertido Lp, sí continuaba la senda abierta con el irrepetible Rust Never Sleeps. Cuando el músico canadiense apareció en los escenarios junto a los International Harvesters, la canción gozó de toda una brisa campera y un menor encasillamiento que el que se escuchaba en el original. Escuchar audio

Welcome! Craig discusses Elon Musk's Starlink Satellite Project and the future of rural internet  For more tech tips, news, and updates visit - CraigPeterson.com --- Read More: Huawei's expired US license is bad news for phone owners Security Jobs With a Future -- And Ones on the Way Out NSA & FBI Disclose New Russian Cyberespionage Malware FCC beats cities in court, helping carriers avoid $2 billion in local 5G fees Business Email Compromise Attacks Involving MFA Bypass Increase NSA and FBI warn that new Linux malware threatens national security How Fast Is SpaceX's Satellite Internet? Beta Tests Show it Hitting Up to 60Mbps ISIS Allegedly Ran a Covid-19 PPE Scam Site --- Automated Machine-Generated Transcript: Craig Peterson: [00:00:00] If you are tired of these crazy cable bills, we've got a couple of articles that are going to talk about right now. we're going to start with one on our friend Elon Musk, who's going to save you a lot of money, at least by the looks of it. Hey, welcome. This is Craig Peterson, of course. Thanks for listening to me and visiting me online at craigpeterson.com. You probably saw my newsletter last week. We had a great little note. From one of our listeners, he, his name is Dick and he was trying to figure out a couple of things. We had a few more this week and I had a great little conversation as well another listener, he has some really cool old cars, and he was lamenting the demise of the Buick Roadmaster. You might remember that car and that whole generation. And we kinda got back and forth talking about my 1980 Mercedes that I drive. That's actually my daily driver, believe it or not, and it's got more than 200,000 miles on. It needs a little bit more work. I'm not going to restore it. He was suggesting, he watches, not Pawn Stars, American pickers, which I really enjoy as well. Having a car that's in original shape has some real value to it. Of course, in this case, it's in the Northeast and although it's spent its initial part of its life down South, quite a ways, still on the coast, it has a lot of rust. So I'm not going to really try and restore it to that sort of a condition.  I'm trying to bring it up to make it look really nice. Needs a new paint job, but it's got some unseen rust. We fixed the major stuff like in the rocker panels, but it's just so much fun. I love driving these old cars. It just handles so well drive so well gets good fuel mileage, nothing like diesel for that. For longevity. In fact, this generation of the car that engine in it is known to go for a million miles before it even needs a rebuild. It's just absolutely incredible. Yeah, we'll see where that goes. It was fun chatting with him about that. So I'm like a shout out to you. So let's get into this whole thing. Elon Musk, we're talking about cars, right? Is that what you think of when you think of Elon Musk? Do you think of a, one of the world's richest men? Do you think about somebody that is just, maybe yeah, a little too caffeinated or too much red bull or something? You've seen the guy, And he's into almost everything. You've got the Tesla cars. He also has a solar company where they'll put solar tiles.  on your roof now as well as regular solar panels. He'll also sell you if you want it a trip up into space. He ran Bob and Doug astronauts up into space. The first time ever we had a commercial endeavor, take us, astronauts, up. I thought that was really cool. I totally watched that. I was in Kentucky at the time, but it was very cool. He's been doing a lot of neat things. A boring company, which has been contracted to put in a tunnel out there in Vegas. They've been trying to get, tunnel a high-speed tunnel. We're talking. More than a hundred miles an hour, closer to 200. They've been trying to put in a tunnel, going from Vegas to Los Angeles as well. And they tried to get one going up the interior, California, basically uproot five LA up to Fresno, or maybe all the way up. To the San Francisco area. He is amazing. He's been driving this stuff. He's got his huge battery plant. He's moving some of this stuff out of California. Hopefully, he's not bringing a single Californian in with him. Don't poluteTexas or some of these other great States, by bringing in these Californians. As you might know, I lived there for a decade and my wife was born and raised there and we managed to escape, which is, I think, a testament to her ability to recognize idiocy all around her in California. It's really changed over the years.  But he has another endeavor that you might not have heard of. Part of what he does, of course, is he launches satellites into space, not just our spaceman. and eventually women as well. I'm sure there's a lot of amazing women that are in the space program, but as SpaceX is preparing to launch Starlink. The big question is how well will it work in the real world. Now, if you've been on a WebEx call, for instance, lately, a WebEx team interaction, you might've noticed, sometimes some people have very slow connections. You might have noticed even on the telephone, like when I'm talking to certain people on the radio, the delay between me stopping saying something and the host responding can be a couple of seconds, and then it gets very annoying. That's called round trip time, just keeping all those stuff simple and knowing what the round trip time is between you and somebody else is really going to help you determine whether or not you can use the phone. These internet-connected phones, which by the way, if you have a cell phone nowadays, most of them actually make calls over the internet when you're at home. Or if you're connected to wifi over at a coffee shop or something, I've got T-Mobile and it is always trying to use wifi and I get really great connectivity. But if you have a lot of jitter, it's a problem for gamers. It's a problem with telephones. It's a problem for video conferences and the longest phone calls. Is it certainly, isn't what it used to be. Yeah. Where are you call up the long-distance operator and they try and connect you across the country and you're constantly being dropped and losing it? Heaven forbid you try to go over the pond. So when we're talking about these low earth satellites, we're talking about a much different type of connection. Historically, all of our connections have gone over landlines are undersea cables and they've been. scratchy and it gets worse. The further that call is being made, and then they switched to digital. The phone company had digital technology long before CDs came out. These remember CDs. Yeah. Where you buy a CD, you can listen to music. So the phone company was using CDs for that type of technology, not CDs, but digital audio for a very long time. And it was a huge advantage for them. It still is because now instead of having to have all these switches with the bucket switches, these round switches. I don't know if you ever were in a central office, but it was loud in there. It was really cool.  Instead of all, in that it was all done on computers and computers just transferred your data around. So from your phone to the phone, on the other side, there were no amplifiers that were causing problems with your signal. There were no bad lines that had a bad connection on them and really could have had some contacts clean. none of that stuff. It's just nice and clear on both sides. In fact, it's so clear that the phone company started introducing a little bit of hiss, a little bit of noise. So people did not think that they got disconnected. That's how good it is. That is the technology of today. There was also a microwave in the middle of there. They'd use that for a long haul. There's still a lot of microwave antennas up. You might remember MCI. I used that for quite a while. They had their own little network and anyways, nowadays we are using all kinds of data lines.  In some cases, if you have a satellite phone, you are actually talking through a satellite and these satellite phones can be great almost anywhere in the world. But what we're talking about with Elon Musk's Starlink is actually something. Different than that. These are a completely different breed of satellite in a completely different orbit than almost all other satellites that are out there and they're going to provide us with a completely different experience. And you can be a big winner with all of this that's going on. So I'm going to tell you how you can win this. Okay. Why you might want to get involved if you're in the Northern part of the United States. Elon wants you. So when we get back, that's exactly. What we're going to talk about. What is SpaceX satellite, internet doing? What's it going to do? Then we're going to get this slightly geeky or talking about a new NSA and FBI warning. You're listening to Craig Peterson. Thanks for being with me. We'll be right back, stick around. Of course, you can find me online. Craig peterson.com. --- More stories and tech updates at: www.craigpeterson.com Don't miss an episode from Craig. Subscribe and give us a rating: www.craigpeterson.com/itunes Follow me on Twitter for the latest in tech at: www.twitter.com/craigpeterson For questions, call or text: 855-385-5553

Episode 190 This week we're very fortunate to have a fantastic guest, Erik Bergman with Hagerty! You absolutely should be aware of Hagerty if you happen to have a collectible car that you'd like to insure, but there are many facets to this diamond of the automotive enthusiast community. Join us as we delve into the world of what it's like to insure a SEVENTY MILLION DOLLAR CAR, why Buick Roadmaster wagons are LEGIT, and how insanely cheap a Pontiac Trans Am is to maintain. Erik, we are honored to have you as our guest. We had an amazing time and you're welcome back any time! Buy stuff with our hashtag brand on it! TeamClearCoat website TeamClearCoat Drivetribe TeamClearCoat YouTube Channel TeamClearCoat Instagram TeamClearCoat Twitter TeamClearCoat Facebook TeamClearCoat Video Game Recommendations on Steam

Ron starts this episode with a caller wanting to discuss turbo engines : takes a call on an 06 Mustang that goes through alternators : takes a call on a 94 Buick Roadmaster with its anti theft light stuck on : takes a call with thoughts on Tesla, autonomous cars, and spare tires : and takes a call on an 89 F150 with dual fuel tanks – and fuel being forced out of the front tank when the rear tank is online. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

A 94 Buick Roadmaster has a new distributor, a new electronic control module, but still doesn't work : an 07 Prius has its ABS light coming on at exactly 63 MPH : a listener wants to know if the extended warranty on a 16 F150 is worth it : and 1 5 Accord that was jump started now lets anyone start the car without the key fob. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

A 94 Buick Roadmaster has a new distributor, a new electronic control module, but still doesn't work : an 07 Prius has its ABS light coming on at exactly 63 MPH : a listener wants to know if the extended warranty on a 16 F150 is worth it : and 1 5 Accord that was jump started now lets anyone start the car without the key fob. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

You Built a Car So The Roof Can Leak? - The hour starts with a call discussing extended oil change intervals : Ron takes a call on a 98 Ford Expedition with a shimmy that comes and goes : takes a call on a 94 Buick Roadmaster that bucks between 40-70 MPH : discusses a water leak in a Honda Odyssey caused by the poor spot welds in the sectioned roof : and takes a call about cars that accelerate very quickly and could this finally be leading to flying cars? Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Rain Man was a movie based roughly on a real person that brought attention to the challenges faced by an autistic savant. An unfortunate side effect is that the character came of as silly and led to numerous misunderstandings about autism. Oh, and it's also a great road movie about a gorgeous 1949 Buick Roadmaster and its ability to create and destroy relationships. Sid and James are joined by Kyle Phalen, a brilliant comedian who also happens to be on the autism spectrum. Kyle talks about how this movie impacted his life and speaks very frankly about the positive and negative impact of the movie. So is Rain Man a good or bad thing? Can a car really be the driving force (pun intended) in a relationship? Why the hell does the Cadillac Cimarron keep cropping up in our podcasts?! Enjoy Rain Man on Reels and Wheels! Subscribe on iTunes or Stitcher and leaves us feedback! Find @ReelsandWheels hosts Sid @SidBridgeComedy and James @S2KJames, as well as Kyle @KylePhalen1!

Tom Waits's first album, Closing Time (1973) opens with Ol' 55, a mournful ballad of late night and early morning driving. Martin and Sam kick things off with discussion of covers, quaaludes, intrusive guitar players and driving a Buick Roadmaster in reverse. It’s a Buick, Martin, a Buick… Song by Song is Martin Zaltz Austwick and Sam Pay; two musicians listening to and discussing every single Tom Waits track in chronological order. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Ol' 55, Closing Time, Tom Waits (1973) Ol' 55, On The Border, The Eagles (1974) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly. And never put on Tom Waits whilst operating heavy machinery.