Podcasts about Country rock

Cory Marks discusses his latest album, 'Sorry For Nothing Vol. 2,' his upcoming tour with Sevendust and more in this new interview.

Metal, Country Rock, Contemporary Folk, Rock, Indian Blues, Indie, Classical, Hip Hop, Country, and Electronic by artists from the Inuit, Ojibway, Cree, Kwakiutl, Lakota, Seneca, Chickasaw, Mi'kmaq, Mohawk, Cherokee and Métis Nations. Brought to you by⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tunes From Turtle Island⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Pantheon Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. If you like the music you hear, go out and buy/stream some of it. :) All these artists need your support. Tracks on this week's show are: Siissisoq - Toornaarsuk Elisapie & Hologramme - Qimatsilunga (I Want To Break Free) remix Kootenay & Co. - Dark Chapter Burnstick - Ou Allons-Nous GDubz - Show No Love Garret T. Willie - Hypnotist Jackie Bird - Lovesick Blues Elemantra - Ishmura Jerod Impichchaachaaha Tate & The Dover Quartet - Fani' (Squirrel) LOV - Body Double Q052 - Restricted Radio Blaine Bailey - Hatchet Indian City & Tom Wilson & Ariel Posen - Ghosts Don't Drown Stella Standingbear - Mmhmm Handsome Tiger - Guava All songs on this podcast are owned by the artist(s) and are used for educational purposes only. All songs can be found for purchase or streaming wherever you get your great music. Please pick up these amazing tracks and support these artists. More info on the show ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠

Robert Allen Zimmerman, dit Bob Dylan, est un américain auteur-compositeur-interprète, musicien, peintre, sculpteur, cinéaste et poète, né le 24 mai 1941 à Duluth, dans le Minnesota. Il est l'une des figures majeures de la musique populaire mondiale. ‘'The Cutting Edge'' est un groupe du Sud de la France ,qui rend hommage au célébrissime Artiste qu'est Bob Dylan et à son groupe mythique The Band, cela à travers l'album : A Tribute to Bob Dylan – Vol 1. Remy Marietti, nom de scène Ray Mee, habite Sausset les Pins (13), est un auteur, compositeur Interprète guitariste et harmoniciste, inspiré par le Folk Rock Californien, la musique Country le Country Rock mais aussi par Bob Dylan les Beatles, Cat Stevens ou Lou Reed. Il est le maitre d'œuvre de cet album ‘' A Tribute to Bob Dylan ‘'. Vol 1 qui couvre la carrière de Bob sur la période 1962-1969 qui est sorti en juillet 2025, masterisé aux Americana Blue Coast Studios de Sausset Les Pins. Projet qui a vu le jour sous l'initiative de Jean-Philippe Meresse. L'album s'ouvre avec ‘'Like A Rolling Stone'' qui date de 1965 et qui marque la rupture de Dylan avec sa période Folk acoustique pure. L'album contient une version de Mr Tambourine Man influencée par celle des Byrds,

This week on Discologist, guest-host Philip Basnight (Broke Royals / DC Rock History Podcast) joins and Kevin to talk about Clementine, the latest country-rocking instant-classic from Milwaukee's Ladybird. But first we're discussing Taylor Swift's latest, who a record-setting concert attended by over 110K people is really for, and more. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the LEGENDS: Podcast by All Day Vinyl, host Scott Dudelson sits down with Rock and Roll Hall of Famer inductee and Eagles co-founder Bernie Leadon for a rare conversation about his experience laying the ground-work for the country rock genre and his first solo album in over 20 years, Too Late to Be Cool, produced by the legendary Glyn Johns. Bernie opens up about how rejoining the Eagles on tour reignited his creativity, the years he spent building his own home studio, and the disciplined songwriting routine that led to this long-awaited record. In this episode we also go deep into Bernie's formative years — from San Diego and Gainesville to Los Angeles — with a focus on exploring his time in Hearts and Flowers, Dillard & Clark, and the Flying Burrito Brothers. Along the way, Bernie recalls collaborations with Gene Clark, Chris Hillman, and Gram Parsons that helped lay the foundation for country rock. He also shares the story behind re-using a 45-year-old Henry Diltz photo for the album cover and why working again with Glyn Johns felt like coming full circle. The episode is packed with behind-the-scenes stories: wild nights at the Troubadour, the Dillard & Clark's infamous onstage meltdown, the formation and early days with The Eagles and how Bernie's own songs ultimately became Eagles classics. He reflects on the meaning behind “Too Many Memories,” the influential people who shaped his path, and why — after decades in music — he has no regrets. If you enjoy this episode, please subscribe, rate, and follow us on Instagram and YouTube at All Day Vinyl.

Support the show: http://www.newcountry963.com/hawkeyeinthemorningSee omnystudio.com/listener for privacy information.

Canadian musician Cory Marks has succeeded where many others have failed - or weren't even game enough to try - by managing to bring elements of rock and metal into his country-oriented music and, more importantly, make it accessible to all sides of the musical fence. It is a musical amalgamation that by every letter of the law should not work, but somehow Marks not only makes it work. He makes it breathe.Whether by design or by plain old-fashioned luck, Marks has made the transition even easier over the course of his career by enlisting the talents of some of hard rock and metal's biggest names with Sully Erna (Godsmack), Mick Mars (Motley Crue) and DL (Bad Wolves) providing notable guest appearances across Marks' three existing albums. By having these names attached to his music, Marks has managed to form a gateway between genres that has flowed through into his whole catalogue of music, to the point that on his latest album, Sorry For Nothing Volume 2, Marks dispenses with guest musicians and delivers 11 original songs of his own volition.And it still works.HEAVY caught up with Marks on the eve of the October 3 release of Sorry For Nothing Volume 2."It's crazy to think that this is my second album in less than a year," he smiled. "Volume 1 came out in December 2024, and this is all music that I love, and I'm very proud of and excited to finally have out into the world. I'm excited, and I think it's a perfect blend of country rock and hard rock."We ask if Volume 2 is a continuation of Volume 1 or if it is more of the same."I would say it's a continuation," he said after a moment's thought. "I think there's some really great country stuff on there. Again, it might be a biased opinion, of course, but there's some heavier stuff like what you've heard so far already, with songs like Hangman and Are You With Me?. And there's some different stuff on there, too, with a song like Someone I Hate, which you even hear some metal screams in there. I'm maybe channelling my Phil Anselmo or my Chester a little bit (laughs), which is different for me on the record and even that style of song."In the full interview, Cory talks more about the songs on Sorry For Nothing Volume 2, the singles released and how they represent the album as a whole, plus the reasons why he chose to put all of the songs with guest artists on Volume 1.He spoke about the blending of genres and how he makes them fit together on an album, as well as the moment when he first had the thought of blending country, metal and rock. Cory told a great story of how that idea became reality and set him off on the path he is on today. We spoke about his upcoming tour with Sevendust as well as the possibility of an Australian tour and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Christopher & Jobst sprechen mit ihm über seine Spotify-Playlist "Back and to the left - Evolution of 90s Midwest Emo Essentials", die Definition von Midwest Emo, Thrasher Magazines Neuschöpfung des Wortes Emocore, Ian MacKaye hat es gehasst, die Herangehensweise an die Liste, völlige Belanglosgikeiten, Lookout Records, die Ära von Doghouse Records, sich mit dem Sänger arrangieren müssen, da fehlt Punk, es geht um Emotion statt Perfektion, die unbekannten Friction, sich jede Nacht mit einem emotionalen Teppich zudecken, auch ein D-Beat-Teppich ist schön, gnadenlos unglücklich verliebt sein, schon immer ein Halodri gewesen sein, die große Schrader-Zeit, die (Don´t Forget to) Breathe-Compilation, bißchen zu screamomäßig, das neue Buch von Stefan Sandrock, alle zwei Tage im Seat Marbella von Lippe nach Bielefeld, einen Fuß in der AmRep-Geschichte, geiler Musik Produktiv-Sprech, die Schlagzeugerin von Motley Crüe, wir nähern uns der heißen Phase, wenn man mal Bock auf Country Rock hat, 1996 the year that midwestern emo broke, an der Grenze des Ertragbaren singen, maximal poetisch, ein Brief an den Mineral-Sänger, Konsensband bei Enfold, wie wenn man den Schlagzeuger die Treppe runterschubst, Ohio´s Favorites vier Konzerte mit Sense Field, wenn man Bock auf virtuelles Spiel hat, warum Samuel nicht dabei sind, Mean Season & Grade, die fast allen unbekannten Grave Goods, der Oi-Emo von Hot Water Music, 80000 Alben in zwei Jahren, denken man hört die Cranberries, der süße Schlagzeuger von The Get Up Kids aufm Fußboden, irre Verkaufstouren mit Green Hell, Glück gehabt das man kein Ärger mit Coretex kriegt, die große Tartex-Dose, den Bus von Hypocritical Society an die Leitplanke setzen, mitm Polo auf Tour, Braid in Langenhagen, (P)enfold etwas frech, das aufwändige Elliot-Cover, das Gefühl haben das man direkt neben der Sängerin auf einer Wiese liegt, das Label Thirty Something Records, die Superstars des Genres, der schlimme Bandname Small Brown Bike, Rain Like the Sound of Trains, da fliegt nicht das Blech weg, gesanglich an Mineral anknüpfen, Atom & Reggie mit den Synthie-Effekten, fast schon postrockig, geknüppelt wie ein Beserker, uvm.Die Playlist:1) SEAM - Decatur2) GARDEN VARIETY - Rode (For Justin)3) QUICKSAND - Dine Alone4) SPLIT-LIP - For The Love of a Wounded Woman5) SUNNY DAY REAL ESTATE - In Circles6) FRICTION - Terra Cotta7) VITREOUS HUMOR - Why Are You so Mean to Me8) CURRENT - Leech9) FALLING FORWARD - Drought10) SUPERCHUNK - Like a Fool11) DRIVE LIKE JEHU - Human Interest12) BOILERMAKER - Used to Be13) SHIFT - Spacesuit14) GIANTS CHAIR - New Orleans15) CHAMBERLAIN - Yellow Like Gold16) MINERAL - Gloria17) ETHEL MESERVE - Calba´s Last18) SENSE FIELD - Building19) CAP´N JAZZ - Puddle Splashers20) THE PROMISE RING - A Picture Postcard21) TEXAS IS THE REASON - Back And to the Left22) BOYS LIFE - Fire Engine Red23) KNAPSACK - Courage Was Confused24) RAINER MARIA - Breakfast of Champions25) ROADSIDE MONUMENT - Eight Hours Away From Being a Man26) CHRISTIE FRONT DRIVE - Radio27) POHGOH - Megaphone Mouth28) THE GET-UP KIDS - Shorty29) CURSIVE - Downhill Racers30) JOAN OF ARC - The Hands31) KILL HOLIDAY - Meant to Let You Down32) BRAID - Killing a Camera33) PENFOLD - M34) JIMMY EAT WORLD - Lucky Denver Mint35) ELLIOT - Miracle36) JEJUNE - Fixed on the One37) COMPOUND RED - Volcano Kisses38) CROSS MY HEART - Dornier39) THE APPLESEED CAST - Marigold & Patchwork40) NORTH OF AMERICA - Extent of Apseoutstrechted41) PIEBALD - Grace Kelly With Wings42) AMERICAN FOOTBALL - Il´l See You When We´re Both Not So Emotional43) SMALL BROWN BIKE - The Cannons And Tanks44) NO KNIFE - Academy Flight Song45) LAZYCAIN - The Screen46) THE CASKET LOTTERY - Jealousy On Tap47) THE GLORIA RECORD - A Lull In Traffic48) THE ANNIVERSARY - The Heart Is A Lonely Hunter49) ENGINE DOWN - SongbirdDie Playlist findet Ihr unter https://open.spotify.com/playlist/4bfStmf0qZIAvCW3IEhqVw?pi=5nTohz4uRtew0

Chicago-based Los Gallos is a perfect example of the blending of culture in Americana music. Their Mexican and Puerto Rican family backgrounds manifested in first-generation American players who grew up on country and rock radio in the U.S. has resulted in perhaps one of the most interesting bands we've heard in a while. Their music is a mix of English and Spanish language songs that range from traditional Mexican sounds to country singer-songwriter approaches. Watch the Episode on YouTube Ric Salazar and Henry Fajardo from the band joined us on Roots Music Rambler this week to talk about their path to music, the influences their family and upbringing had on it, and the unique blend of songs that make up their diverse portfolio of sounds. And, because we don't miss an opportunity on Roots Music Rambler, Frank did corner the guys to ask where to find the best tacos in Chicago. Frank and Falls talk about some change to Roots Music Rambler (we're back on full video now) and Falls shares his latest venture, Appalachian Echoes, which is a great companion and compliment to the show. Plus they offer their regular weekly Pickin' the Grinnin' picks of new music for your listening pleasure.  Download the episode and subscribe at rootsmusicrambler.com, watch the full episode on YouTube, or download wherever you get your podcasts.  Also be sure to help spread the love of the show with Roots Music Rambler's new merch, now available at rootsmusicrambler.com/store. Authentic t-shirts, hats and stickers are now available.  Buckle up for The Hoe-Down and the Throw-Down! It's a new episode of Roots Music Rambler. Notes and links:  Los Gallos Online Los Gallos on Spotify Los Gallos on Instagram Los Gallos on Facebook Roots Music Rambler on YouTube Appalachian Echoes WXCC-FM - Williamson, W.Va. The Roots Music Rambler Store Roots Music Rambler on YouTube Roots Music Rambler on Instagram Roots Music Rambler on TikTok  Roots Music Rambler on Facebook Jason Falls on Instagram Francesca Folinazzo on Instagram Pickin' the Grinnin' Recommendations Elizabeth Moen Max Gomez Subscribe to Roots Music Rambler on YouTube, Spotify, Apple Podcasts, GoodPods or wherever you get your podcasts. Theme Music: Sheepskin & Beeswax by Genticorum; Copyright 2025 - Falls+Partners. All music on the program is licensed by ASCAP, BMI and SESAC. Roots Music Rambler is a member of the Americana Music Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Punk, Hiphop, Country Rock, Contemporary Folk, R'n'B, Dance, Post Punk, Reggae, Country and Techno by musicians of the Cheyenne, Nimíipuu, Métis, Ojibwe, Haida, Cree, Mi'kmaq, Seminole, Kānaka Maoli, Anishinaabe, and Tlingit Nations. Brought to you by⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tunes From Turtle Island⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Pantheon Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. If you like the music you hear, go out and buy/stream some of it. :) All these artists need your support. Tracks on this week's show are: 1876 ft. Wyzaker, Kunu, Mista Chief - CTYNDN II The Muddy River Band - Rain On The Highway Burnstick - Etincelle Kolby White - dress shirt Carsen Gray - 1 Million Feet High Sean Beaver - Deep House Call Stephen Hero & Wolf Castle - The One Desiree Dorion - Let Them Kootenay MC - Play The Field Rhiannon Giddens - Better Get It Right The First Time The Neighbourhood Kids & Indigenous Cats - They Aim At Us Windwalker Dorn - Grandfather Geo AKA The Voice - riding bikes Miss Killa - Out Come The Wolves (Remix) Ribbon Skirt - Wrong Planet Mar 66 - Gatherer All songs on this podcast are owned by the artist(s) and are used for educational purposes only. All songs can be found for purchase or streaming wherever you get your great music. Please pick up these amazing tracks and support these artists. More info on the show ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠

This episode centers on music icon and Winter Haven native Gram Parsons. Parsons career took off in California, but his life began in Florida.Bob Kealing, author of "Calling Me Home: Gram Parsons and the Roots of Country Rock" joins us to discuss. Catch Bob October 9, 2025, at Florida Southern College in Lakeland for a lecture about Elvis' time in Florida.Gram Parsons' Derry Down music venue.

Norm Murray speaks with Canadian Country/Rock recording artist, Samantha Ava. She is one of the acts performing at this year's Head For The Hills Craft Beverage Festival, September 13, 2025 at Georgetown's Trafalgar Sports Park. Norm is emcee again, this year.

Content warning: this episode contains lengthy discussions about death and drug use, and a brief mention of suicide.On this episode we tackle two albums we've never heard before... until we listened to them for the first time for this episode! That's right, instead of perfectly curating a classic album for a prompt, today we are spinning some albums we've been meaning to check out but have not heard a single song from.First we discuss Julius's pick. As a big fan of the Stooges, they never got around to checking out any solo Iggy Pop. Produced by David Bowie, The Idiot is Pop's first solo album and was recorded while both Pop and Bowie were trying to kick their drug habits. Does it meet the high standard set by the Stooges? Find out by listening!On to Danny's pick, we talk about Tonight's the Night - the final installment of the unofficial "Ditch Trilogy." This era saw Neil Young eschewing the sounds of Harvest  that skyrocketed his career. Instead, he made albums infused with raw emotion stemming from tragic losses in his life and struggles with substance abuse.Send us a text message!You can follow us here: Instagram Twitter Tiktok Check out our preview episodes to stay caught up with what we're listening to! Send us a message, we'd love to hear from you! Email is thegmspod at gmailSubscribe, you have no choice! Leave us a rating and review (optional)!Thanks for listening!

Episode 126: Chris Hillman Salute! He's Been A Major Player In Rock And Country/Rock August 29, 2025 At the turntables today with some of that great album rock from the 60s & 70s. Those sweet vinyls can still sound as good today as they did 50+ years ago. Pardon the ashes and candlewax. But there aren't any greasy fingerprints because we hold them by the edge, with the edge in the palms of our hands. And there's really not any candlewax or ashes on them. They are sacred. I hope today you'll be delighted when we hear two from the Beau Brummels, a bit of the history of Chris Hillman with his many bands and all we can fit into this hour, including another new segment, the Jim Jam, later today. We'll play Lady Jane by the Stones together. I'm glad you're listening and hope you're digging the Tales Vinyl Tells. And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

Laura Bryna - an American country and rock artist - joins us on this episode of Celeb Savant. Laura dives into her journey in the entertainment world, which includes the role of giving back, how she loves collaborating with other songwriters, her collaborations with Common Tribe and Sam Feldt, and how her songwriting is inspired by the challenges in her life. Website - www.laurabryna.com Instagram - @laurabryna Facebook - @laurabryna TikTok - @laurabryna YouTube - @laurabryna

Jason McCoy of The Road Hammers: 20 Years of Trucking Music and Brotherhood  In this episode of the Lead Pedal Podcast, host Bruce Outridge talks with Jason McCoy, frontman of the legendary Canadian country rock band The Road Hammers. With over two decades of music under their belts, the band continues to fuel the spirit of the highway with their signature trucking anthems. Jason shares what it's like keeping the band together after 20 years, their love for the trucking lifestyle, and how their music has connected deeply with truck drivers across the country. From backstage stories to highway hits, this is one ride you don't want to miss!

#RainbowCountry AWARD-WINNING 2HR Nationally Syndicated Gay Radio Show & A Canadian #1 LGBT Podcast Working To Give Voice To The LGBT Community & BEYOND! ON EPISODE 464: THIS WEEK ON AIR! Starting Tuesday 8PM ET Broadcast Radio | Streaming | Podcast

In this episode of the Doc & Jacques radio variety show, Dr. Gigi Reed MD and Jacques Kepner talk with country rock musician Sam Michaels, who shares his musical journey, including performing with his band Country Drive and opening for Toby Keith. Sam highlights his adaptable performance style, drawing from a vast repertoire of songs […]

Making a Scene Presents an Interview with Clarence TiltonClarence Tilton, the Omaha-based band known for their sharp storytelling and rich harmonies, returns with Queen of the Brawl—a new album that captures the grit, soul, and heart of the American Midwest. Featuring special guest appearances by country legend Marty Stuart and Presley Tucker (bandmate and daughter of Tanya Tucker), the album blends personal history, road-worn reflections, and a deep love of place into a powerful collection of songs. As The Country Note describes it, the album “blends alt-country grit, rich, melodic hooks, and evocative” songwriting. http://www.makingascene.org

Rich and Jim dive deep with rising country rock artist Ben Gallaher. Hear his incredible story of playing concerts in maximum security prisons, breaking free from a record label that didn't understand his sound, and building a unique musical style that's garnered 35 million views online.   Highlights: [0:10:00] - Ben's unique journey playing concerts in state prisons for 10 years [0:23:00] - Navigating the challenges of a record label that wanted to change his sound [0:35:00] - Musical influences and developing his distinctive guitar style [0:49:00] - Emotional stories from prison performances that changed lives [1:01:00] - Discussion about loyalty in music and long-term band relationships [1:11:00] - Details about his upcoming EP and new music video for "Bullet"   Ben shares insights about his musical journey, songwriting process, and the power of staying true to his artistic vision while creating music that connects with audiences on a profound level. The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich:   @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co                  

Bill Payne, co-founder and member of Little Feat joins the show to discuss their latest studio album, Strike Up the Band released on May 9th, 2025 as well as the band's upcoming tour schedule. Actor Vincent Martella (best known for providing the voice of Phineas Flynn on the animated series "Phineas and Ferb") also checks. Martella fills us in on how he became part of the show, what led to its 2025 return (Season 5 premieres June 5) after a 10-year hiatus, and what fans can expect for this upcoming season. We cap the program off with a very special edition of "Now THAT'S Punny" with a soon-to-be new bride, Tim's daughter Tessa DeMoss! :) Sports clip: Jesús Luzardo (Philadelphia Phillies pitcher) (MLB.com) Music: New Orleans Cries When She Sings / LITTLE FEATStrike Up the Band / LITTLE FEAT Vincent Martella photo clip credit: Russell BaerSee omnystudio.com/listener for privacy information.

She's with the Band, the show that aims to amplify the voices of women and femme people on stage, backstage, and in the business, hosted by Tori Kravitz.

Pippa speaks to Justin Serrao who along with Bianca Blanc has released a heartfelt country rock song called “Where There’s Smoke” Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 .See omnystudio.com/listener for privacy information.

In this episode, we speak with Firefall founding member and lead guitarist Jock Bartley about the bands 50 year history and their latest album Friends and Famly 2.

Brent Cobb dives into his recently announced album with his band the Fixin's, 'Ain't Rocked In A While,' and also opens up about his deep love of all things rock and roll.

Howie Kurtz on Trump unveiling his massive tariff plan, Elon Musk downplaying the Wisconsin special election loss and the Trump administration freezing funding to Maine for letting trans athletes in women's sports. Follow Howie on Twitter: @HowardKurtz For more #MediaBuzz click here Learn more about your ad choices. Visit podcastchoices.com/adchoices

Grady McAuliffe's debut single "On the Edge" released on March 7th 2025 to worldwide streaming platforms through Pilot Light Records. The single was produced by McAuliffe with Ethan Isaac, Tom Stewart and Joel P. Kelley. It was recorded at Isaac's owned and operated Factory Underground Studio in Norwalk, CT and mastered by John Shyloski, along with many more songs to be released soon. McAuliffe performed at Daytona Bike week on March 3rd & 5th ahead of his single's release. "We were a hit with the beer drinking bikers in Daytona. That felt really good. When they like you, they really let you know it... and they let you know when they don't!" said McAuliffe. McAuliffe first found success with his song "All Time Low," which was featured in the Christmas movie for the television series "Heartland." It was during this period of writing and recording in Nashville TN that he first began to hear his songs recorded in a Nashville-country style; he realized what a natural fit it was to his style of storyteller-songwriting. Today he calls his style of music "northern country," a mix of Nashville Country and Alternative/Southern Hard Rock. "Rock or Country, we're an American band, playing music from the heart. People respond to that," he said.Here is the new video of On The Edge https://www.youtube.com/watch?v=n6VVr6XHoRgFor more on Grady log on belowhttps://www.gradymcauliffe.com/

In this episode, I chat with Canadian Country artist Cory Marks. Being a huge fan, I was excited to talk to Cory about his life before music, and the artists who inspired him along the way. Chatting about his love of aviation and a scary moment up in the air. How some of the biggest hits of his career came together with the biggest names in rock and metal, like Sully Erna of Godsmack, Tyler Connolly of Theory, Ivan Moody of 5FDP, Mick Mars of Motley Crue and more. We play a game with his song titles…talk about his fiancé and grandpa, and even get a Trailer Park boys impression and even got him to sing a few of his favorite Merle Haggard lyrics. Follow @ScandalousOfficial

Today on another edition of the Rarified Heir Podcast, we are Jason Everly, son of Phil Everly of the famed Everly Brothers. We connected with Jason after listening to his radio show on Sirius XM satellite radio on the Fifties Gold channel. It sparked a memory that Jason and host Josh Mills had attended the same middle school together at the Oakwood School in Los Angeles going back to the Carter administration. After rummaging around and finding a school yearbook, we emailed Jason with a photo of himself in 7th grade, asked him to be on the podcast and he graciously accepted. We covered a lot of topics on this episode, from intimidating science teachers to the time Paul Simon called Jason up to find out the best way to approach his dad for potential Simon and Garfunkel / Everly Brothers tour in the nineties. We also discussed the roots of the Everly Brothers, how Phil was a down-to-earth dad who spent a lot of time bonding with his son playing made up games and drawing together. We discussed the how his father and uncle essentially created a genre that became known as country-rock, how Phil helped his friend & arranger Warren Zevon title one of his biggest hits, the time Paul McCartney told Billy Joel that Phil Everly was his musical hero and much more. We also discussed the Everly Brothers infamous split, a famous cousin who was on a wildly popular television show in the 1970s, the evolution of radio performers Little Donnie and Baby Boy Phil, the hard scrabbled life the boys led until they found fame and fortune, Graham Nash, Kitty Wells, which song of the Brothers gets licensed the most, Jason's acting career and much more. What's our favorite part?  When Jason mixed up our science teacher Sol Rubenstein with guitarist Saul Hudson aka Slash from Guns-n-Roses. Your favorite part is coming up next on this episode of the Rarified Heir Podcast. Everyone has a story.

She's with the Band, the show that aims to amplify the voices of women and femme people on stage, backstage, and in the business, hosted by Tori Kravitz. Subscribe to She's With the Band for more episodes including Kittie, Jinjer, Knocked Loose + more

¡¡NUEVO PODCAST ‼ -Dr. Reyes Haro Valencia… “Día Mundial del Sueño”-Giselle Domínguez y Nelther Radilla... ¡ Mileneando en el Vive Latino!-Dr. Santos Regino Uscanga Sánchez… “Día Mundial de la Endometriosis”-“ROSBIF” (Banda de Country Rock en español)

As Cory Marks continues to celebrate his latest album, 'Sorry For Nothing,' he also dives into his love of Ozzy Osbourne and why he wanted to work with producer Kevin Churko.

In this episode, I chat with Canadian Country artist Cory Marks. Being a huge fan, I was excited to talk to Cory about his life before music, and the artists who inspired him along the way. Chatting about his love of aviation and a scary moment up in the air. How some of the biggest hits of his career came together with the biggest names in rock and metal, like Sully Erna of Godsmack, Tyler Connolly of Theory, Ivan Moody of 5FDP, Mick Mars of Motley Crue and more. We play a game with his song titles…talk about his fiancé and grandpa, and even get a Trailer Park boys impression and even got him to sing a few of his favorite Merle Haggard lyrics. Follow @ScandalousOfficial

Cody Canada celebrates Cross Canadian Ragweed's upcoming stadium shows in Stillwater, reflects on his band's legacy and dives into their deep friendship with Pantera.

Nashville is one of the most iconic music scenes in the United States. Hailing from this super-active city, we have Ryan Jennings, bassist and vocalist for Teddy and the Rough Riders. The band just released their latest album “Down Home” on vinyl and CD, and is loaded with the band's unique Country Rock flavor.Ryan also plays bass for Emily Nenni who has been going strong in the Country Music arena.Join me as we hear about Ryan's musical Journey, how he gets his sound, and his plans for the future.Photos: Brandon Otto (IG @bottophoto) and Courtesy of Teddy and the Rough RidersThis interview first appeared in Bass Musician Magazine in November 2024Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.

We have an acclaimed series about the unknown direction of the positive plight or precarious pitfalls of life, love and career. Its Destination Unknown 3 on deck today! I made this show over the summer of 2024 and forgot to upload it to the podcast feed...lol Its been running on the station only. Brand new ep 4 in the series will be out tomorrow on KRAM and KERB for the Shackjam 23 in Houston! That will be a hosted show! The first 3 are all music bonuses wonderfully capturing the essence of the road and all directions life may lead for you or others in your world. Enjoy this fabulous show! It covers many genres and styles but curated into my natural flow that has won over fans across the planet! There's some country rock at the end too! Great songs! Mississippi Mud by Will Dempsey in particular!!Have fun! Find everything show related at Halshack.com Thanks for fueling the drive behind our fanbase!

From her solo work to her collaboration with guitarist Martin Hauke to her gritty rock band Cozmic Mojo, singer/songwriter Elizabeth Lee has been making groundbreaking Americana music for over 2 decades. We talk to her about her incredible music and her upcoming projects.

Hardy joins Loudwire Nights to celebrate the upcoming release of his first-ever live album, 'Live From Red Rocks,' and names a dream collaboration.

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

The multi-talented singer/songwriter from Kamloops, BC Marshall Potts (Spectra Music Group) talks about his latest release “The Storm” featuring the title track and “Heaven and Home” plus “The Rope”, “Never Gets Old”, “Thank You God” plus his previous release “Long Goodbye” and more! Marshall began his amazing career at 12 in songwriting later with a crossover in Americana, Rock, and Country Rock, has two movie soundtrack credits, there CD releases, extensive international & Canadian airplay alongside international touring with numerous followers on Spotify, YouTube and other social media platforms plus shares the stories behind the music with upcoming plans for 2025 and beyond! Check out the amazing Marshall Potts (Spectra Music Group) on all major platforms and www.marshallpotts.com and www.spectramusicgroup.com today! #marshallpotts #kamloopsbc #americana #countryrock #thestorm #spectramusicgroup #heavenandhome #therope #nevergetsold #thankyougod #longgoodbye #moviesoundtrack #internationaltouring #canadian #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermarshallpotts #themikewagnershowmarshallpotts     --- Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

The multi-talented singer/songwriter from Kamloops, BC Marshall Potts (Spectra Music Group) talks about his latest release “The Storm” featuring the title track and “Heaven and Home” plus “The Rope”, “Never Gets Old”, “Thank You God” plus his previous release “Long Goodbye” and more! Marshall began his amazing career at 12 in songwriting later with a crossover in Americana, Rock, and Country Rock, has two movie soundtrack credits, there CD releases, extensive international & Canadian airplay alongside international touring with numerous followers on Spotify, YouTube and other social media platforms plus shares the stories behind the music with upcoming plans for 2025 and beyond! Check out the amazing Marshall Potts (Spectra Music Group) on all major platforms and www.marshallpotts.com and www.spectramusicgroup.com today! #marshallpotts #kamloopsbc #americana #countryrock #thestorm #spectramusicgroup #heavenandhome #therope #nevergetsold #thankyougod #longgoodbye #moviesoundtrack #internationaltouring #canadian #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermarshallpotts #themikewagnershowmarshallpotts     --- Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

EPISODE #238 Pat Gasperini is a musician, songwriter, and producer who is now a member of Anything But Human who released their first EP 'Push' in 2020. Pat talks about Holiday food and tradition, playing CBGB's, old Boston clubs, The Beatles, Rock Radio, the COUNTRY/ROCK blend, Nashville, songwriting, the bands touring plans in 2025, new music and so much more! Episode Notes Check out the custom playlist for Episode #238 here! Find Anything But Human here: Website Facebook X Instagram Youtube TikTok Find Pat Gasperini Online: Website Facebook Instagram Twitter Youtube Find Mistress Carrie Online: Official Website The Mistress Carrie Backstage Pass on Patreon Twitter Facebook Instagram Bluesky Threads YouTube TikTok Cameo Pantheon Podcast Network Find The Mistress Carrie Podcast online: Instagram Threads   Learn more about your ad choices. Visit megaphone.fm/adchoices

Coming off a five-week national tour, country rocker Devin Cuddy joins us in studio to talk about his inspirations, his upbringing, and how he lost his writing voice and found it again. He also performs an acoustic version of "Dear Jane," the title track from his latest album.See omnystudio.com/listener for privacy information.

In this New Music Friday episode, we speak with an up-and-coming singer/songwriter from Macon, Georgia, about his excellent debut album, Here I Come.

In this New Music Friday episode, we speak with Dan and Bob from Corduroy Cat about their latest album Love and Lament.

Country rock and guess who's selling donuts on News Radio KKOBSee omnystudio.com/listener for privacy information.

Merel Bregante is an acclaimed country rock drummer. He played with Loggins and Messina, Chris Hillman, the Nitty Gritty Dirt Band and banjo star John McEuen. He's a Grammy nominated producer and engineer. And he's got 13 Platinum and Gold records to his credit.My featured song is Richie Furay's live version on this podcast of his song “Pickin Up The Pieces”.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Merel at:www.cribworksdigitalaudio.comwww.sarahpierce.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

This week, I had the pleasure of chatting with Matt Oakley, a singer-songwriter known for infusing modern flair into the classic storytelling tradition of country music. Representing the promising future of the genre, Matt and I discussed the following:How his college years in South Carolina were a turning point, marking the beginning of his serious pursuit of music.His distinctive fusion of Modern Country, Country Rock, and Country-Pop, highlighting the central role of storytelling in his songwriting.The way personal experiences and stories from people he encounters inspire his music, focusing on authenticity and emotional resonance.The challenges he has faced, including finding his unique voice, developing his brand, and handling the business side of his career.His advice to aspiring musicians on achieving success in the industry._____________________________________Check out Matt's latest singles and more here: https://linktr.ee/MattOakley_____________________________________Link to all things Not in a Huff Podcast: https://linktr.ee/notinahuffpodcastPlease follow/subscribe to the podcast to be the first to see new episodes when they come out each week. Be extra awesome and rate us on Apple Podcast and Spotify! :)

TakeawaysThe love of music and the drive to create keeps A Thousand Horses going despite challenges and setbacks.The music business is constantly changing, and artists need to adapt to new technologies and platforms to reach their audience.Authenticity is key in creating music that resonates with listeners and stands the test of time.A Thousand Horses embraces their country rock sound and continues to release new music to connect with their fans. The music industry is complex and challenging, with various revenue streams and accounting complexities.Live performances are a crucial part of an artist's career and provide a direct connection with fans.Longevity and building a loyal audience are important goals for artists.The music business requires hard work, rehearsals, and constant strategizing.The country music community is supportive and collaborative.Crossover artists can bring new perspectives and audiences to the country music genre.Chapters00:00 Introduction and Welcome01:26 The Drive and Inspiration Behind the Band09:13 The Importance of Authenticity in Music24:57 Covering Foo Fighters' Song 'My Hero'26:24 Understanding Songwriting and Royalties27:43 The Challenges of the Music Industry28:39 The Wild West of the Music Industry29:05 The Desire to Meet Dave Grohl29:33 The Highway Sound Tour30:02 The Impact of Live Performances31:30 The Impressive Live Performance of Thousand Horses32:01 The Highway Sound Tour Dates32:30 The Excitement of Touring33:26 The Value of Live Music33:56 The Influence of Live Shows34:54 The Impact of Live Concerts35:22 The Experience of Seeing Clint Black Live36:19 The Possibility of Doing More Covers37:16 The Goal of Longevity in the Music Industry38:44 The Challenges and Surprises of the Music Business39:17 The Importance of Rehearsals and Preparation40:17 The Work and Energy Behind Making Music41:14 The Community and Support in the Country Music Scene42:38 The Temptations and Challenges of Touring43:06 The Reality of the Music Industry44:25 The Joy and Fulfillment of Live Performances45:21 The Influence of Trailblazers in Music46:41 The Popularity of Country Music48:04 The Impact of Artists Crossing Over to Country Music49:01 The Artists Thousand Horses Admires50:27 The Country Music Community in Nashville51:52 The Gratitude and Journey of Thousand Horses52:52 Where to Stay in Touch with Thousand Horses If you enjoyed this episode and want to learn more, join Ryan's newsletter https://ryanalford.com/newsletter/ to get Ferrari level advice daily for FREE. Learn how to build a 7 figure business from your personal brand by signing up for a FREE introduction to personal branding https://ryanalford.com/personalbranding. Learn more by visiting our website at www.ryanisright.comSubscribe to our YouTube channel www.youtube.com/@RightAboutNowwithRyanAlford.

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