Podcasts about California Sun

On this recent California Sun podcast Roddy Bottum, a founder of the alternative metal band Faith No More, talks with me about 1980s and '90s San Francisco — a dark, overlooked era between the Summer of Love and the tech boom. His memoir, “The Royal We” recalls a vanished city of bicycle messengers and punk rock in the shadow of the AIDS crisis. It's a poetic testament to community, loss, and the creative rebellion that defined pre-tech San Francisco. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

In this recent California Sun podcast I talk with Dina Gilio-Whitaker, author of the new book “Who Gets to Be Indian?“ She explores how California became ground zero for Native American identity fraud — from Hollywood's early film lots to today's casino capitalism and tribal disenrollment crisis. All of it created the perfect conditions for “Indianness” to become commodified, challenging authentic tribal sovereignty and belonging across the nation. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Under the California Sun, Scott does roam, humming the echoes of Good Vibrations along with foam. The Surfin' Safari begins at dawn, while the Fun, Fun, Fun of the waves rolls on.He pauses where the sea meets the God Only Knows sky, dreaming with a Wouldn't It Be Nice sigh. The breeze carries whispers of Don't Worry Baby near, as gulls cry melodies only his heart can hear.Through the sand, he traces a Sloop John B rhyme, tides singing I Get Around to the rhythm of time.When twilight falls on this Endless Summer shore, he'll leave with The Beach Boys in his soul forevermore.The Beach Boys were the last group to play at this year's Eat to the Beat concert series at the EPCOT International Food and Wine Festival...and Scott finally got to see them in concert!During this episode, not only will you hear some of their music, you'll also hear about some of the great food, snacks, and fun and crazy cool experiences Scott had with his good friends, Karen, Brian, and Russell. As a bonus, you'll get to hear a bunch from Karen and Russell, two former Guests on The Mouse and Me. (Listen to their interviews!)Have a happy and healthy Thanksgiving!Email: TheMouseAndMePodcast@gmail.comSupport: www.patreon.com/themouseandmeFB and Instagram: “The Mouse and Me”Music by Kevin MacLeod from https://incompetech.filmmusic.io

Welcome to one of California's most audacious experiments – a Danish village complete with windmills and half-timbered buildings, built in a valley where summer temperatures hit the nineties. Johnny Mac explores Solvang's pastries at packed Mortensen's Bakery, authentic sausages and German beer at Copenhagen Sausage Garden, year-round Christmas shopping, and live music at Solvang Park featuring Angie and the Nightmares. Discover why this theatrical town works despite (or because of) its absurdity, and why sometimes the best authenticity comes from complete commitment to an invented identity.

On this recent California Sun podcast I talk with Todd S. Purdum, veteran journalist and author of “Desi Arnaz: The Man Who Invented Television.” Purdum expalins how a Cuban refugee revolutionized Hollywood. He invented the three-camera sitcom format, shifted television production from New York to LA, and created the business model that sustained the industry and TV production for seven decades—fundamentally transforming the entertainment business. It cost him everything! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

On this latest California Sun podcast, John Freeman, author of “California Rewritten: A Journey Through the Golden State's New Literature,” talks to me about how California has become America's new literary center, challenging New York's dominance. He discusses the pandemic book club that sparked his journey, the state's evolving mythology, and how diverse voices are redefining what it means to imagine America's future. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Minerva University, has earned the No. 1 ranking in the World University Rankings for Innovation for four consecutive years. Founded in San Francisco in 2012, Minerva reimagined higher education — eliminating campuses, lectures, and tenure while sending students to live and study across seven global cities. In this California Sun podcast, Mike Magee, President of the University discusses how Minerva, with only a 4% acceptance rate and students from more than 100 countries, is preparing the next generation of leaders for an interconnected world.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for an entire year of great conversation. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

The surprising Penguins take 2 of 3 on their west coast road trip.Email the show: contact@2fortalking.comFollow us:⁠https://x.com/joshyohe_⁠⁠pgh⁠⁠https://x.com/joebartnick⁠⁠https://x.com/cory_tucek⁠

Today, as immigrant families are again separated and detained, Satsuki Ina joins me on the California Sun podcast to talk about her memoir “The Poet and the Silk Girl.” Her story chronicles her family's journey through California's network of assembly centers and permanent camps during World War II. It's a reminder, she says, that what happened then is not just history — it's a warning about how easily such chapters of fear and racism repeat themselves.Satsuki was born behind barbed wire at Tule Lake, where she became one of roughly 120,000 Japanese Americans incarcerated during the war. Her parents, both U.S. citizens, lost their freedom and faith in America, leaving a legacy of silence and trauma. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Jeff Chang, in his new biography “Water Mirror Echo,” and in our recent California Sun podcast explores how the short of life of Bruce Lee helped shape modern Asian American culture and politics.Born in San Francisco's Chinatown, Lee was denied the lead role in Warner Bros.'s 1970s TV series “Kung Fu,” which was given instead to David Carradine in yellowface. Lee's collision with Hollywood rejection became a catalyst for his rise at a time of emergent Asian American political consciousness. Chang discusses how Lee became a global symbol of Asian American dignity, and how his legend has only grown in the decades since his death.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

The sons of the elite also struggle.Filmmaker Peter Jones turned his camera on his former classmates from the Harvard School for Boys, a former military academy for boys in Los Angeles, for his new PSB documentary “Fortunate Sons,” chronicling the lives of the 1974 graduating class through their 50th reunion. In this California Sun podcast, Jones tells me that what started as pandemic Zoom calls became surprisingly honest conversations about addiction, suicide, and the pressure of living up to successful fathers. Jones discovered that wealth can't shield against every hardship, and that the men now in their 60s were finally ready to drop the macho act and talk about what really happened.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Punk Rock, Punk Pop, una selección de melodías con energía y espíritu playero.(Foto del podcast por Roberta Bayley)Playlist;(sintonía) RAMONETURES “Rockaway beach”RAMONES “Surf City”THE RATTLERS feat JOEY RAMONE “On the beach”QUEERS “I wanna be happy”SURFIN LUNGS “Beach bound”CRUMMY STUFF “Summer fun”THE YUM YUMS “Summertime pop”PSYCHOTIC YOUTH “Summer is on”TRAVOLTAS “Pray for sun”EVEN IN BLACKOUTS “Summer comes”THE DONNAS “California Sun”THE DEMONICS “Ritual on the beach”PELOTAN “A day in the beach”THE GO GO'S “Beatnik Beach”SURF PUNKS “Meet me at the beach”TOMMY and THE ROCKETS “Summer means fun”NIKKI and THE CORVETTES “Summertime fun”THE “B” GIRLS “Fun at the beach”TIM ARMSTRONG “Summer of 69”THE McRACKINS “Summer of life”Escuchar audio

On my latest California Sun podcast, Jim Newton joins me to discuss “Here Beside the Rising Tide,” exploring how Jerry Garcia and the Grateful Dead emerged from 1960s California to become unlikely architects of America's counterculture. Newton reveals Garcia as a reluctant icon who feared leadership yet created a multigenerational community that thrives decades after his death. We explore the Dead's anti-commercial ethos, their role as cultural catalysts rather than political activists, and how their California values of freedom and authenticity continue to influence everything from music to tech culture. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

I'm joined by Gene Seroka, executive director of the Port of Los Angeles. The port handles 20% of America's incoming cargo. In this California Sun conversation, he reveals how the 7,500-acre complex serves as an economic bellwether, highlighting trends months before consumers feel them. From automation debates to tariff-induced cargo swings, Seroka explains how what happens at the port ripples through the economy and shapes global trade.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

On this California Sun podcast I talk with Christopher Beam, whose recent New York Times investigation, reveals how a group of brilliant minds from Google, NASA, and the rationalist movement in Berkeley became part of a murderous cult-like group known as the “Zizians.”Unlike Charles Manson's dropouts, these tech elites weaponized artificial intelligence fears and rational thinking into deadly extremism, which was enabled by California's tolerance for radical ideas.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Producer and former New World Pictures Senior Vice President of Production Jeff Schechtman joins us to talk about his career at New World, starting with 1978's PIRANHA and into the post-Roger Corman era where he also producer 1984's BODY ROCK! From starting out as an Assistant to the Producers on projects like TRUCK TURNER, BLACK BELT JONES, and ENTER THE DRAGON for Fred Weintraub's company to getting his own projects (literally) off the ground, Jeff has a variety of stories from his time in the industry! Straddling between tow eras of New World's history, Jeff eventually went on to New Line and helped produce 1993's KILLING ZOE! We discuss it all here! We also discuss a wide variety of New World titles from his time as a New World executive, so get ready for a wide-ranging discussion about New World's history! Now a podcaster himself, Jeff has 3 podcasts you can check out: Talk Cocktail,  California Sun, and Who What Why. Check out his work by clicking on the name of each podcast! For more about the New World Pictures Podcast, including previous episodes, t-shirts, mugs, sweatshirts, other merch and more, head here: https://newworldpicturespodcast.com/ For all the shows in Someone's Favorite Productions Podcast Network, head here:  https://www.someonesfavoriteproductions.com/

Beverly Hills Mayor Sharona Nazarian fled Iran with her family during the revolution to escape religious persecution, learning English as her third language before building a career in clinical psychology. Now the first Iranian American woman to lead the city, she governs a diverse community where roughly 20% of the population trace its roots to Iran. As war unfolds in the Middle East, she's tells us, in this California Sun podcast how she's become the de facto voice of a diaspora caught between American dreams and a longing for peace in their homeland.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Gustavo Arellano is a longtime Los Angeles Times columnist and chronicler of the Latino community. In my recent California Sun podcast he brings his deeply personal perspective to the immigration crackdown unfolding in Los Angeles. He shares observations from the epicenter of protests. Born to a Mexican father who snuck across the border as a teenager, Arellano's voice carries both the weight of historical context and the urgency of someone who sees his community under siege.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year!Also Follow Me on X @jeffs2009 Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Matthew Specktor, joins me on this California Sun podcast to discuss his new memoir “The Golden Hour.” He offers us a unique perspective on Hollywood's transformation — as both the son of legendary talent agent Fred Specktor and a thoughtful cultural observer, he explains how the movie industry shifted from a close-knit “family business,” where art and commerce balanced, to today's corporate-dominated landscape. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

On this recent California Sun podcast I talk with Ben Fritz, who covers the entertainment industry for The Wall Street Journal. We explore Hollywood's perfect storm of existential threats — empty theaters, streaming wars, production flight, artificial intelligence. If that wasn't enough, as Fritz has reported: audiences today seem to be rejecting both franchise tentpoles and original films. He discusses whether Hollywood can reinvent itself as it has done in the past and adapt to technological change while maintaining its global cultural influence and economic importance to California.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Subscriber-only episodePaul comes out swinging with a political call to action, update on his grad school application, the robotic 2-axis platform with precision control for microscopic photo mosaics of deep sea fossils, the missing stone, and Paul's first ick.  Intro Song: "California Sun" by The Ramones.  Outro Song: "Fade Into You" by Mazzy Star.

From their Venice Beach studio, Charles and Ray Eames revolutionized design in post-war Los Angeles, shaping the modernist ethos of California and beyond. Known for their groundbreaking Case Study House No. 8, furniture, and films, their work seamlessly blended art, science, and functionality.In my California Sun conversation, Daniel Ostroff, editor of “An Eames Anthology,” he shares fresh insights into the couple's philosophy and enduring relevance.Note: The Eames House, which is located in Pacific Palisades, was undamaged by the recent fires Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

David Ulin, one of Los Angeles's most perceptive chroniclers and an editor of Joan Didion's collected works, reflects on the city's unprecedented urban wildfires through the lens of history, identity, and belonging. Ulin, in this California Sun podcast, talks to me about how disasters in Los Angeles paradoxically forge deeper connections between Angelenos and their landscape. Drawing parallels to 9/11 and the 1906 San Francisco earthquake, he explores how this watershed moment — with its destruction of thousands of structures across a burn area of roughly 60 square miles — may reshape Southern California's future.This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

We begin the year by looking in the “Wayback Machine.”Brewster Kahle, founder of the Internet Archive, housed in a former San Francisco church with Greek columns that echo the ancient Library of Alexandria, discusses his three-decade mission to preserve humanity's digital knowledge and culture. Now facing unprecedented challenges, including a major cyberattack and legal battles with publishers over the site's distribution of copyrighted materials. In this California Sun podcast Kahle talks to me about the growing threats to digital preservation while reaffirming his commitment to universal access to all knowledge. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

Welcome back: There are brilliant new voices speaking to California's fires, climate change, and ecology - what this ongoing tragedy means for Californians. But one of the most resonant voices comes from the past. Mike Davis, author of "City of Quartz," "Ecology of Fear," and "Dead Cities," seems to be quoted almost daily in discussions of the current fires. His understanding of Southern California through the lens of its fires has become essential reading; whenever flames rage across the state, readers return to his prescient work, especially the controversial chapter "The Case for Letting Malibu Burn" from his 1998 book "Ecology of Fear."Few voices have proven as prophetic in understanding California's complexities as Davis. His penetrating analysis of climate vulnerability, urban inequality, and social transformation reads like a blueprint for today's headlines.In my 2019 California Sun conversation with Davis, recorded just three years before his death, Davis, a MacArthur Fellow and UC Riverside professor, brings his characteristic clear-eyed examination to California's role as America's crystal ball. His insights on everything from wildfire risk to social inequality not only predicted our current challenges but continue to offer wisdom for navigating them.This interview is worth your time, as it stands as a testament to Davis's unique ability to see California both as it was and as it would become.Six years later, his words could have been spoken today. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

The last thing we need this week is another expression of alarm about events in Washington, or anywhere else for that matter. How about something positive about our companions.In a recent California Sun podcast I talked with author Carol Mithers about her new book, “Rethinking Rescue,” which explores a groundbreaking approach to animal welfare pioneered by Lori Weise, the founder of L.A.'s Downtown Dog Rescue. Known as the “Dog Lady,” Weise focuses on preventing pets from entering shelters by addressing the root causes of surrender, particularly in underserved communities. Mithers talks to me about the complex interplay between poverty, pet ownership, and animal welfare, challenging traditional rescue paradigms and emphasizing community support and education to keep pets with their loving owners. A more positive way to end the year. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

In this California Sun podcast I talk with architectural critic Aaron Betsky. He challenges conventional thinking about our built environment in his new book “Don't Build, Rebuild,” in which he makes the case for transforming existing structures rather than constructing new ones. From San Francisco's empty offices to Los Angeles's historic core, Betsky explores how this approach can not only address housing shortages and climate change but also preserve the soul and stories embedded in our buildings. This post is FREE for everyone. Please spread it far and wide. And please consider becoming a paid subscriber to TalkCocktail. It's $8 a month or just $80 for the entire year! Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

On a recent California Sun podcast I spoke with Sasha Abramsky, author of the new book “Chaos Comes Calling.” Abramsky talks to me about how America's deep polarization has cascaded from national politics down to local levels of governance. Abramsky reveals that even in small rural communities, once-mundane local issues like library policies, road repairs, and child care have become ideological battlegrounds. Abramsky illuminates how the pandemic, social media echo chambers, and talk radio amplified partisan voices, transforming school boards and city councils into microcosms of the broader red-blue divide. 

On this California Sun podcast I talk with Los Angeles Times columnist Gustavo Arellano who dismantles the myth of a monolithic “Latino vote.” After 3,000 miles across the Southwest, Arellano finds Latino communities laser-focused on local issues & identity, not national politics The real power? It's in city halls, not DC. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

  On this California Sun podcast I talk with Los Angeles Times columnist Gustavo Arellano who dismantles the myth of a monolithic “Latino vote.” After 3,000 miles across the Southwest, Arellano finds Latino communities laser-focused on local issues & identity, not national politics The real power? It's in city halls, not DC.

On a recent California Sun podcast I spoke with Sasha Abramsky, author of the new book “Chaos Comes Calling.” Abramsky talks to me about how America's deep polarization has cascaded from national politics down to local levels of governance. Abramsky reveals that even in small rural communities, once-mundane local issues like library policies, road repairs, and child care have become ideological battlegrounds. Abramsky illuminates how the pandemic, social media echo chambers, and talk radio amplified partisan voices, transforming school boards and city councils into microcosms of the broader red-blue divide. Thank you for listening to the Talk Cocktail Podcast. I count on word of mouth to grow the Podcast. Please share with a friend Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

On this California Sun podcast I talk with Roger BelAir and Dan Ostroff who are bringing hope to California's toughest prisons through an unlikely source: pickleball. Their upcoming documentary, “Pickleball in Prison,” explores how the simple paddle sport is transforming life behind bars, bridging gaps between inmates and staff, and fostering teamwork in high-security environments. From San Quentin to Folsom, the film captures wardens facing off against inmates across the net, revealing moments of shared humanity. I count on word of mouth to grow TALK COCKTAIL. Please consider sharing it with a friend. Send them here Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

In this California Sun podcast I'm joined by Zoë Bernard, whose recent story in Vanity Fair looks at El Segundo, California's emerging tech scene, where young entrepreneurs are rejecting Silicon Valley's software focus in favor of defense tech. These predominantly male founders, desciples of Elon, emphasize bro culture, patriotism, religion, and traditional values while developing drones, nuclear reactors, and military weaponry. With more than $100 billion invested in defense tech since 2021, they see themselves as "saving America." The war in Ukraine has helped legitimize their efforts, while concerns about China drive their mission.  Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

I'm working on a follow up song to this called "California Moon." This joke will make sense in a week, I swear. Covers by: The Rivieras, Tommy James & The Shondells, Ramones, Eddie Meduza, Los Straitjackets and Dave Alvin, King Usniewicz and His Usniewicztones, Mike Love, Smitty and the JumpStarters Tidal playlist here

Markos Kounalakis,  has written recently in Washington Monthly about what he sees as California's underrepresentation in key decision-making bodies in Congress. Kounalakis is a Visiting Fellow at Stanford University's Hoover Institution, a Senior Fellow at the Center on Media, Data, and Society at Central European University, and a nationally-syndicated foreign affairs columnist who also happens to be California's "Second Gentleman" as the husband of California's Lt. Governor.He argues in my California Sun podcast that the state should have a larger role in  shaping U.S. foreign policy, and stronger representation on key congressional committees because of  its significant population, economic power, and strategic location, could have dire consequences for America's strategic future. I count on word of mouth to grow the Talk Cocktail. Please consider sharing it with a friend. Send them here. Get full access to Talk Cocktail Podcast at jeffschechtman.substack.com/subscribe

"Bloodbrothers" The Bronx-born Richard Blum took his love of wrestling and Catskill Mountains humor and created Handsome Dick Manitoba, the wildly charismatic frontman of the legendary proto-punk outfit The Dictators. Along with his childhood best friend Scott Kempner, Andy Shernoff, Ross Friedman and Stu Boy King, The Dictators tore out of the gate with all the fuel-injected energy of the MC5, and absolutely demolished the stage with high octane live shows that were nothing short of legendary. Although not huge commercial successes, albums like Go Girl Crazy! and Manifest Destiny were instant classics and still sound as urgent and alive as they did over 40 years ago. So why weren't they commercial successes? I don't know. The Ramones had their leather jackets, and The New York Dolls had their sleazy glamour, but hook of The Dictators was a mystery? I mean, come on--a fevered cultural cauldron of cars, girls, television, and raging weekends, The Dictators' hook was simple: it was an adrenalized and fevered vision of the modern world, simplified into three minute blasts of feral punk wrath. But it was also funny. A big Jewish flex of humor and irony, The Dictators weren't messing around about messing around. They were enjoying themselves. Using an updated blast of Borscht Belt comedy with youthful frustration, The Dictators weren't a high concept band--they were economical in their approach and somehow this went over a lot of people's heads and even though their members had nicknames like Top Ten or The Boss or... Handsome Dick Manitoba, they were taken literally and not ironically and the point of the fun was totally missed. They covered The Stooges and Sonny and Cher, they even took a gleeful stab at California Sun--not too shabby for kids from New York, Look, the songs are as timeless and anything The Ramones or The Dolls ever did, and their lack of massive success seems a huge generational oversight, but what can one do? The band dissolved like bands do, Handsome Dick later fronted Manitoba's Wild Kingdom, fronted a later iteration of The MC5 and is now playing under his own name with a killer band behind him. www.handsomedickmanitoba.com www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Amir an aspiring fashion designer from Los Angeles. He shares his goals and ideas with me on this beautiful day under the California Sun.

Saturday, January 8, 2022 "I love that scene where they're slow dancing and the Bear is just looking on like in his silent, drunken approval." The very fine Katie Rockwood joins us for the first time with three movies in tow that are completely related to each other through her love rather than all the hang-tens, wipeouts, and surfwax.0:00 -- Intro15:06 -- Big Wednesday36:17 -- Back to the Beach50:04 -- North Shore1.14:08 -- Katie reasoning1.17:07 -- Podcast awards and rankings2:10:59 -- Future business2.24:20 -- Outro and outtakesHey! Be sure to watch The Towering Inferno, Flash Gordon, and Ghostbusters for next time! "I thought Jon was gonna love this or hate this. I think you fear this."Hey! "Sunless Saturday" by Fishbone!Hey! "Blue Hotel" by Chris Isaak!Hey! "Will You Still Love Me Tomorrow" by The Shirelles!Hey! "California Sun" by Connie and Frankie!Hey! "Wipeout" by Herbie HancockHey! "Aeiou Sometimes Y" by EBN-OZN!Hey! Leave us a voicemail at (801) 896-4542!Hey! Subscribe in iTunes!Hey! Check out the Facebook page and vote on the next category!Hey! Check out Jon's YM&T Letterboxd list!Hey! Check out Roy's YM&T Letterboxd list!Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

On this Catching A Wave, we introduce a new segment we'll hear at least monthly this year called Head 2 Head! This first one has "California Sun" by Dick Dale and Ramones. Let us know which one you like the best (we know...it's tough to choose since they're both great!). We also spin a tune by Jan & Dean from an album celebrating it's 60th anniversary in our Good Time Segment. Beth Riley has a deep track by The Beach Boys in her Surf's Up: Beth's Beach Boys Break and we drop a coin in the Jammin' James Jukebox to hear our selection of the week (it's a piano man covering another piano man). Plus, we've got songs by Slowey & The Boats, Chrome Castle, The Beatles, The Nut Jumpers, The Routes, The Breakers, Guitarmy Of One, Man Or Astro-man?, The Joyful Hope, Amphibian Man, Monster Wave, Playa Amarilla and Los Reverb!   Intro music bed: "Catch A Wave"- The Beach Boys   The Breakers- "Escaping Through The Window" Slowey and The Boats- "Si Tu Vois Ma Mere" The Nut Jumpers- "Blue Voodoo" The Routes- "Train Of Thought" Guitarmy Of One- "The Sea And The Seventh Veil Of Surveilence"   Good Time Segment: Jan & Dean 60th Anniversary of The Little Old Lady From Pasadena (1964) Jan & Dean- "The Little Old Lady From Pasadena"   Man Or Astro-Man?- "Put Your Finger In The Socket" The Joyful Hope- "Crimson Weed"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Bells Of Paris" Follow "Surf's Up: Beth's Beach Boys Break" HERE   The Beatles- "You Can't Do That" (2023 mix) Amphibian Man- "Reaction" Monster Wave- "Pazuzu Luau" Chrome Castle- "Lucky Bee"   Head 2 Head: Ramones- "California Sun" Dick Dale- "California Sun"   Jammin' James Jukebox selection of the week: The Hassles (feat. a young Billy Joel)- "Great Balls Of Fire"   Playa Amarilla- "Seagull" Los Reverb- "Fat Fenders"   Outro Music Bed: Eddie Angel- "Deuces Wild"  

This is a Grave Talks CLASSIC EPISODE! Drive past Oakland or up to Bay Farm Island, and you will find yourself on Almeda Island. The island is home to several decommissioned US war vessels from a bygone era. Many of them now spend their days baking away in the hot California Sun, slowly rising and falling in a sea of salt water. It's not exactly the perfect environment for preservation. Nonetheless, the Haunted USS Hornet resides in these waters, as does a live crew that works tirelessly to tell the story of an American legend and the crew that sailed her. That same crew, who to this day, although deceased, may still be on board the haunted ship if the stories are real. Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

Quinta y penúltima entrega de esta serie de programas dedicados a repasar 2023 a través de 100 canciones favoritas. Playlist;JE TEXAS “California Sun”JAKE LABOTZ and SMOKESTACK LIGHTNIN’ “Never been wrong (about loving you)”THE ROLLING STONES “Dreamy skies”THE LIQUORICE EXPERIMENT “The devil”THE GIANT ROBOTS “Avanti la macchina”DOCTOR EXPLOSION “Mamma Leggy”ARIZONA BABY “Nightmare in suburbia”HEROÍNAS “Ella es así”THE LEN PRICE 3 “The grass is always greener”FOGBOUND “Garden of the unseen”HOWLIN’ JAWS “The sting”ESCOMBROS “Contrapa”TERBUTALINA “Sempre fresco”THE BO DEREKS “Salvar el rocknroll”THEE BLIND CROWS “Acougo”LOS ANDES feat LUKAH BOO “Todo pasa”Escuchar audio

Some people don't recognize the monumental impact the Dictators had on the concept and coining of the term "Punk" as it relates to the musical movement that would follow.. I've been a huge fan of this man and his band for almost half my life now, Andy was gracious enough to give me some of his time to chat with me about Punk, pizza, and so much more. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Sesión de viernes con unas cuantas novedades favoritas del mes de octubre. Playlist; (sintonía) MESSER CHUPS “Hard times for Dracula” JAKE LABOTZ and SMOKESTACK LIGHTNING “Never been wrong (about loving you)” MARCEL BONTEMPI “Mummy walk” LOS MEJILLONES TIGRE con NAT SIMONS “El viaje” NEW MATH “Johnny’s on top” TV’S DANIEL “Usual students” LAS ODIO “Presente perfecto” THE HANGMEN “Last time I saw you” PAT TODD and THE RANKOUTSIDERS “Living in a world of hurt” SIR BALD y LOS HAIRIES “Twist in the sand” (Escaped from the zoo) JE’TEXAS “California Sun” THE GIANT ROBOTS “Avanti la macchina” THE WOGGLES “Mr last chance” DOCTOR EXPLOSION “Mamma Leggin” MING CITY ROCKERS “Void” SONIC TRASH “Arma tiro punk” VÍCTIMAS CLUB “Humillante speed” HAIRY NIPPLES “Space debris” Escuchar audio

Selección de novedades que abren los garageros The Giant Robots, la banda Suiza que regresa con el poderoso álbum “Fuzz you”. Nuevo single de Doctor Explosion e interesante descubrimiento el debut de Je’Texas. Nuevo trabajo de la cósmica Rita Braga y fiesta asegurada con Sir Bald y los Hairies. Playlist; (sintonía) THE GIANT ROBOTS “Panam” (Fuzz you, 2023) THE GIANT ROBOTS “Avanti la macchina” (Fuzz you, 2023) THE GIANT ROBOTS “No way to hide” (Fuzz you, 2023) DOCTOR EXPLOSION “Mamma Leggy” (single, 2023) JE’TEXAS “California Sun” (ST, 2023) RITA BRAGA “Illegal planet” (Illegal planet, 2023) THE LEGENDARY TIGERMAN feat ANNA PRIOR “Loser” (Zeitgeist, 2023) GABRIEL THOMAZ “Quiche de alho poro” (single, 2023) NY HED Studio presenta; THE WILD ZOMBIES “Speedfire” CYANIDE PILLS “Don’t tell me everything is alright” (single, 2023) MING CITY ROCKERS “Poor old Jim” (Lime, 2023) FRUIT TONES “I don’t speak a language (Pink wáter Factory, 2023) THE SCANERS “The dries” (ST, 2018) LOS WAVY GRAVIES “Silly Sally” (Hangin’ out with Koko, 2021) SIR BALD y LOS HAIRIES “Escaped from the zoo” (Escaped from the zoo!, 2023) MAMBO JAMBO ARKESTRA “El gran ciclón” (El gran ciclón, 2023) THE GOLDSTARS “Leave me alone (a Halloween song)” (single, 2023) MESSER CHUPS “Blood and black lace” (Blood and black lace, 2023) Escuchar audio

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Jade Avedisian began her promising career tearing up empty parking lots at the age of five. By seven she was racing quarter midgets and today she is easily as recognizable as her #71 Mobil 1 Toyota racing for Keith Kunz motorsports in the exciting USAC Xtreme Outlaw series. Connect wide Jade:Jade FacebookJade Avedisian RacingJade Avedisian / Aved Racing (@jadeavedisian) / TwitterJade Avedisian (@jade_avedisian) • Instagram photos and videosJade Avedisian (@jade_avedisian) on Threads Keith Kunz Motorsports Facebook Mobil 1 FacebookToyota Racing FacebookK1 Race Gear FacebookArai Helmets FacebookPeelz Citrus FacebookLocked Down FacebookConnect with JP Emerson: Website: www.jpemerson.com Twitter: @The_JPEmersonEmail: jp@jpemerson.com For more podcasts on cars checkout Ford Mustang The Early Years Podcast at www.TheMustangPodcast.com or atApple Podcasts or anywhere you get your podcastsFor more information aboutsponsorship or advertising on The JP Emerson Show or podcast launch servicescontact Doug Sandler at doug@turnkeypodcast.com or visit www.turnkeypodcast.com

As librarians, Beth and Kelly know Bigfoot books are located in the nonfiction section; the 001s for the unexplained, yet to be definitively proved. But for Bigfootaphiles, the penultimate proof is a nearly minute-long shaky film of a sasquatch walking near a creek bed shot in 1967 in northern California. Strange Country delves into this film and other Bigfoot encounters in this episode. And answers the question, is the film legit. Short answer? No. Long answer? Nooooooooooooooo. Theme music: Big White Lie by A Cast of Thousands Cite your sources: “Bigfoot bounty passes $2 million if captured unharmed.” FOX 5 San Diego, 10 March 2021, https://fox5sandiego.com/news/trending/bigfoot-bounty-passes-2-million-if-captured-unharmed/. Accessed 1 February 2023. “Bigfoot Patterson Film Hoax Solved.” (2005). YouTube. Retrieved from https://www.youtube.com/watch?v=WVegHHmZ028 “Bigfoot - Patterson/Gimlin Film Stabilized (2016). YouTube. Retrieved from https://www.youtube.com/watch?v=Q60mSMmhTZU Carey, Jonathan. “The Bigfoot Trap – Jacksonville, Oregon.” Atlas Obscura, 13 August 2017, https://www.atlasobscura.com/places/the-bigfoot-trap-jacksonville-oregon. Accessed 1 February 2023. Crair, Ben. “Why Do So Many People Still Want to Believe in Bigfoot?” Smithsonian Magazine, September 2018, https://www.smithsonianmag.com/history/why-so-many-people-still-believe-in-bigfoot-180970045/. Accessed 1 February 2023. Daegling, David J. Bigfoot Exposed: An Anthropologist Examines America's Enduring Legend. AltaMira Press, 2004. Koroff, K. K., & Kocis, M. (2004). Exposing Roger Patterson's 1967 Bigfoot Film Hoax. Skeptical Inquirer. https://cdn.centerforinquiry.org/wp-content/uploads/sites/29/2004/07/22164653/p35.pdf Lei, Richard. “The Reliable Source.” The Washington Post, 7 March 2004, https://www.washingtonpost.com/archive/lifestyle/2004/03/07/the-reliable-source/87511230-07b8-4c97-9424-602dbd413da3/. Accessed 1 February 2023. Margaritoff, Marco. “The Legend Of Sasquatch In 8 Bigfoot Sightings Too Unnerving To Ignore.” The Legend Of Sasquatch In 8 Bigfoot Sightings Too Unnerving To Ignore, 11 April 2021, https://allthatsinteresting.com/bigfoot-sightings/4. Accessed 1 February 2023. McPhate, Mike. “When California introduced Bigfoot to the world.” California Sun, 7 August 2018, https://www.californiasun.co/when-california-introduced-bigfoot-to-the-world/. Accessed 1 February 2023. Oregon Public Broadcasting. (2019). The Film That Made Bigfoot a Star. Retrieved from https://www.youtube.com/watch?v=xVo6Vj0_Xbo.  Rosman, John. “Film Introducing Bigfoot To World Still Mysterious 50 Years Later.” Oregon Public Broadcasting, 20 December 2017, https://www.opb.org/news/article/bigfoot-patterson-gimlin-sasquatch/. Accessed 1 February 2023. Shersby, Megan. “5 of the new species discovered in 2023 | Discover Wildlife.” BBC Wildlife Magazine, 1 February 2023, https://www.discoverwildlife.com/news/new-species-discovered-this-year/. Accessed 1 February 2023. Spitzer, Gabriel. “Bigfoot ruined this man's life, then gave him a fresh start.” KNKX, 8 August 2020, https://www.knkx.org/other-news/2020-08-08/bigfoot-ruined-this-mans-life-then-gave-him-a-fresh-start. Accessed 1 February 2023.

Erica Gies returns to the California Sun podcast to talk about the water crisis we face today...one of too much water in all the wrong places. Flash flooding and storms in one part of the state, massive droughts in others, climate change, and a growing concrete-built environment, have all impacted our plans for water control. Gies explores other options in her recent op-ed in the New York Times and in this podcast. She suggests the use of unique geologic features called paleo valleys, which could be a way for California to find a sustainable solution to an ongoing water crisis.

In today's episode, Rum in the California Sun, we explore the intersection between spirits and location, and how new brands can originate from the unlikeliest of places, such as rum from Southern California. Today's guest Dan Olson, is the co-founder of Hook Hand Rum Company, which was started in 2017 in Dana Point, CA.

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript In today's main episode we look at the career of Bobby Fuller, who many have speculated died because of in some way upsetting the Mafia. So in this bonus episode we're going to look at someone who had a much longer, more successful, career, and did so because he managed *not* to upset the Mafia. We're going to look at the involvement of Morris Levy in the birth of bubblegum, and at "Hanky Panky" by Tommy James and the Shondells: [Excerpt: Tommy James and the Shondells, "Hanky Panky"] The original lineup of the Shondells started out when Tommy James was only twelve years old, and still going by his birth name Tommy Jackson. They performed for three years under various names before, in 1962, recording their first single, "Long Pony Tail", under the name Tom and the Tornadoes: [Excerpt: Tom and the Tornadoes, "Long Pony Tail"] That was actually a cover version of a song originally recorded by the Fireballs, a group that Norman Petty had produced a couple of minor hits for at that point, and who would go on to have a number one with "Sugar Shack", but who are now best known for being the group that Petty got to overdub new instrumental backing on Buddy Holly's acoustic demos so he could keep releasing posthumous hits. "Long Pony Tail" was not a hit, and soon the group had changed their name to the Shondells, inspired by the local one-hit wonder Troy Shondell, who had had a hit with "This Time": [Excerpt: Troy Shondell, "This Time"] The group continued making records on tiny labels with no promotional budget for several years, until they recorded a song called "Hanky Panky". That song had been written by Jeff Barry and Ellie Greenwich, and released as a B-side by Barry and Greenwich's studio group The Raindrops: [Excerpt: The Raindrops, "Hanky Panky"] That record had never been a hit, supposedly because the song to which it was a B-side, “That Boy John”, made people think of John F Kennedy, who was killed shortly after the record's release. But a copy had been picked up by a musician in Michigan, who had added the song to his group's live set, and it had become popular. Another local group, the Spinners -- not the vocal group from Detroit, or the British folk group, but another group of the same name -- saw the reaction that band had from the song, and added it to their own sets. They hadn't got a copy of the record themselves, so they didn't know all the words, so they just made new ones up, other than "My baby does the hanky-panky". When Tommy James saw the reaction the Spinners had, he felt he had to grasp an opportunity. Back in 1960, Joe Jones had recorded "California Sun", a song written by Henry Glover, on Roulette Records: [Excerpt: Joe Jones, "California Sun"] Another group on the same local scene as the Shondells, the Princeton Five, had been playing that song in their sets -- and then a third local group, the Playmates, renamed themselves the Rivieras, ripped off the Princeton Five's arrangement of the song before the Princeton Five could record it, and made the national top ten with it: [Excerpt: The Rivieras, "California Sun"] The lesson was clear -- if a local band starts doing well with a song, it's winner-takes-all and whoever gets into the studio first gets the hit. So the Shondells went into the studio and quickly cut their version, based on what they could remember of what the Spinners could remember of someone else's live versions of “Hanky Panky”, making up new words where they didn't know the real ones. It was released on a tiny local label called Snap: [Excerpt: Tommy James and the Shondells, "Hanky Panky"] The record was a very minor local hit, but didn't get any airplay in major markets, and the Shondells split up, and James joined a new group, the Koachmen. The Koachmen toured for a while, playing dead-end gigs and scraping a living for many months, with constant lineup changes, until eventually also calling it quits. It was then that James got the shocking news that "Hanky Panky" was now number one in Pittsburgh. Somehow a local dance promoter had found the record and started playing it at club nights. It had gone down shockingly well, so a Pittsburgh company just started pressing up more copies from the single, and it sold eighty thousand copies in ten days. The company pressing the record got in touch with the owner of Snap Records, who told Tommy that he needed to put together a new Shondells quickly. As it turned out, there was another band in the area who were called the Shandells (according to James' autobiography -- other sources say they were called the Raconteurs). James became their lead singer and changed the group's name to the Shondells, James went to New York to try to get the newly-successful record national distribution, and to get his new Shondells signed. There was the start of a bidding war, with Red Bird, Atlantic, RCA and others all interested... until Morris Levy of Roulette Records phoned the owners of all the other labels and told them "This is my record". James was quickly persuaded that it wasn't a good idea to refuse offers made by someone with Levy's mob connections, and Tommy James and the Shondells signed to Roulette Records. "Hanky Panky" was reissued and went to number one. The group had a series of hits from 1966 through 1967, including "I Think We're Alone Now", written for the group by their producer Ritchie Cordell: [Excerpt: Tommy James and the Shondells, "I Think We're Alone Now"] And "Mony Mony", a group effort written by several people including Cordell and James, inspired by a large flashing neon sign advertising Mutual of New York: [Excerpt: Tommy James and the Shondells, "Mony Mony"] These early hits helped define bubblegum music, and were massively successful. Levy took a fatherly interest in James, and while he refused ever to pay the royalty rates in James' contract -- James estimates he is owed thirty to forty million dollars in unpaid royalties -- he did make sure that James got what Levy thought was a fair amount, and the two had a good relationship, though James resented much of Levy's attitude towards his music, and had very real qualms about working for a mobster. James particularly disliked the pressure he was under to produce hit singles rather than grow as an artist. James was, though, allowed to change styles as the times changed, and moved into psychedelic rock, co-writing and recording the number one hit "Crimson and Clover" with the group's drummer: [Excerpt: Tommy James and the Shondells, "Crimson and Clover"] And "Crystal Blue Persuasion", inspired by the Book of Revelation, with two other band members, which went to number two: [Excerpt: Tommy James and the Shondells, "Crystal Blue Persuasion"] In 1970, James went solo, having another major hit with "Draggin' the Line": [Excerpt: Tommy James, "Draggin' the Line"] He also co-wrote and produced the big hit "Tighter Tighter" for Alive N Kickin': [Excerpt: Alive N Kickin', "Tighter Tighter"] But two changes in the early seventies saw James lose his commercial momentum. The first was that he started more explicitly writing about his Christian faith, including titling a solo album "Christian of the World". The other, more serious, problem was that a mob war started in New York, with one of the families opposed to Levy's targeting Levy's friends. Levy made James get out of New York and move to Nashville to keep safe, and James moved into country music while he was there, but was unsuccessful in his new genre. James eventually escaped from Levy, as Levy's control over his music industry holdings slipped with his loss of dominance in the mob, but James never returned to commercial success, though his old hits continued to have influence on the next generation of bubblegum pop -- in 1987, Tiffany's cover version of "I Think We're Alone Now" was knocked off number one by Billy Idol's version of "Mony Mony". He currently tours as a nostalgia act, and finally receives royalties from his hits. He's often somewhat dismissed as a minor act, but James, with and without the Shondells, had a hugely impressive run of hit singles, and his catalogue is probably due reevaluation.