American rock and roll band
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8 episodes with The Cyrkle
8 episodes with The Cyrkle
7 episodes with The Cyrkle
6 episodes with The Cyrkle
8 episodes with The Cyrkle
5 episodes with The Cyrkle
2 episodes with The Cyrkle
7 episodes with The Cyrkle
4 episodes with The Cyrkle
Today's program features tuneage from XTC, Tim Buckley, It's A Beautiful Day, Lovin' Spoonful, John Mayall, Crosby Stills & Nash, Spirit, Beatles, Small Faces, Youngbloods, Randy Newman, The Left Banke, Cyrkle, Zombies, Seatrain, Rascals, Jean Luc Ponty, Doors, Tears For Fears, Byrds, Led Zeppelin, Simon & Garfunkel, Judy Collins, Quicksilver Messenger Service .and Loggins && Messina
Sintonía: "Peter Gunn" - Henry Mancini"Magic In The Air" - "Freedom For You" - "Strange House" - "Feel Like Flying" - "Roll On" - "Anything" (bonus). Las seis canciones extraídas del único álbum del grupo londinense The Attack (1966-68), titulado "Strange House"; publicado en 1968 por Angel Air Records y reeditado en vinilo por Guerssen Records en el 2022. Todas las canciones compuestas e interpretadas por The Attack "Don´t Cry, No Fears, No Tears Comin´ Your Way" - "Weight Of Your Words" - "It Doesn´t Matter Anymore" - "Two Rooms" - "You Can´t Go Home Again" (bonus) - "Terry´s Theme" (bonus) - "Our Love Affair´s In Question" - "I´m Not Sure What I Wanna Do" - "We Had A Good Thing Goin´ " (bonus) - "The Words" (bonus). Las nueve canciones más la instrumental, extraídas del 2º LP de los estadounidenses The Cyrkle, publicado y reeditado en vinilo por Columbia Records en 1967 y 2024 respectivamente. Todas las músicas compuestas e interpretadas por The Cyrkle Este programa está dedicado a la memoria de Miguel Ángel Del Pino. Gracias a él conocí a los Attack, uno de mis grupos británicos favoritos de los 60...Escuchar audio
IT'S THE FINAL EPISODE OF 2024! Join Planet LP host Ted Asregadoo and Popdose's Keith Creighton as they wrap up an incredible year of music! In this jam-packed episode, Ted and Keith dive into their favorite songs and albums of 2024—not with a ranked list, but with thematic categories that make for a thoughtful and entertaining retrospective. In the first segment, Keith and Ted talk about bigger music trends like: -- The deluge of streaming content. -- The impact of AI on music creation -- and how Spotify reaps the profits from these non-human-created songs. -- The importance of human creativity in cultural expressions like music. Breakthroughs and Debuts Keith talks up the music by and film about Kneecap -- a hip-hop trio whose raps are entirely in Galic. Their current album Fine Art is available now. Fat Dog also tops Keith's breakthroughs and debuts this year. If you're into the early Ministry and that whole industrial genre, you'll love Woof by Fat Dog. Finally, The Waeve, a UK duo featuring singer-songwriters Graham Coxon and Rose Elinor Dougall. Keith said that if he did rank his albums this year, City Lights by The Waeve would top his list. Ted's Single Play picks are: "The Flood" by Allie Sandt. If you're a fan of Fleetwood Mac, Steely Dan, Paul Simon, or Madison Cunningham, Allie's music is a must-listen. With songwriting that reflects the depth and wisdom of an old soul, Allie weaves timeless influences into a sound that's uniquely her own. Her heartfelt lyrics and melodic craftsmanship show incredible promise, and Ted is rooting for her career to take off— because she truly deserves it. The second song is As For The Future's track "The Mob" -- a sly, samba-infused commentary on populism that's as counter-cultural as it is catchy. If you're a fan of Sergio Mendes and Brazil '66 or were hooked on Swing Out Sister back in 1987, this song will strike a chord. With its smooth grooves and clever lyrics, "The Mob" blends nostalgia with a fresh, modern edge—proof that As For The Future knows how to make a bold musical statement. Another UK Invasion The Last Dinner Party is a UK band that formed during COVID-19. Surprisingly, before they had a single out, they opened for The Rolling Stones. The Last Dinner Party is what Keith called a total "buzz band" that entertained the public and press with their live shows, fashion, and visual style. Their album, Prelude To Ecstasy did deliver the goods -- as it were -- and lived up to its hype. Irish shoegaze band NewDad, which Keith describes as "very sweet, tender, dark, shoegazing music," reminds him of Lush -- which made him spin the album many times since its release. And while Brigitte Calls Me Baby are not from the UK (they are from Chicago), Keith connected with their music because their style reminds him of The Smiths crossed with Elvis Presley. Their debut album is The Future Is Our Way Out. Ted's sort of Single Play picks for this segment are: A Planet LP favorite! Ward White's "Continuity" is a masterclass in wit, quirky storytelling, and exceptional musicianship. The opening line is irresistibly catchy—it sneaks into your head and stays there, a sure sign the song is working its magic. Ward's sharp sense of humor shines throughout, making "Continuity" both clever and captivating. It's a standout track that showcases his unique charm and talent. Though Ward is not from the UK, he sure sounds like he could be -- kind of like the band Brigitte Calls Me Baby. It Leads to This by The Pineapple Thief has been Ted's most-listened-to album of 2024—and for good reason. He was hooked after seeing them live in San Francisco on December 9th. While he admits to unfamiliarity with their older work, It Leads to This completely won him over. It balances heavy guitar riffs with a meditative, Pink Floyd-like, immersive, and introspective vibe. It might not be for everyone, but if atmospheric, thoughtful rock is your thing, It Leads to This is absolutely worth a listen. New Power Pop When it comes to power pop, think The Knack's "My Sharona," or Rick Springfield, and Cheap Trick. But what's when it comes to power pop in 2024 sometimes what's old is new again. Keith recommends a band that opened for The Beatles during the final tour and shared the same manager. That band is The Cyrkle -- whose unusual spelling was suggested by John Lennon. Their 2024 release on Big Stir Records is called Revival, and it's among Keith's most-played albums this year. Fun fact: Band member Tom Dawes (alas, he died in 2007) was a successful jingle writer after The Cyrkle disbanded. He wrote "Plop, Plop, Fizz, Fizz" for Alka-Seltzer, which ran in their ads from 1975-1980. Another power pop gem is The Half-Cubes, whose album Pop Treasures is a carefully curated album of cover songs that mine some tracks from 10cc, OMD, Del Amitri, and Trashcan Sinatras. Ted's Single Play picks are: Kula Shaker's "Indian Record Player" is a catchy pop anthem that seamlessly blends Western pop music sensibilities with a nostalgic nod to the golden age of Bollywood in the lyrics. Check out their latest release, Natural Magick. Galantis, David Guetta, and 5 Seconds of Summer team up for "Lighter," a feel-good anthem that's pure pop perfection. Clocking in at just 2:52, the song is packed with infectious hooks and an upbeat vibe that'll have you dancing from start to finish. It doesn't overstay its welcome or try to be overly complicated—it's simply a joyful, high-energy track with a great beat that's impossible to resist. Sometimes, all you need is a song like this to brighten your day and get you moving. Best Comebacks Keith's first comeback record is from The Libertines, All Quiet on the Eastern Esplanade -- which is an astonishing comeback considering the substance abuse problems of some of the band members, like vocalist and guitarist Pete Doherty. Check out the single "Run, Run, Run" which excels at presenting what a good pub band sounds like when they are sober. Guess who's back? The Zutons! Best known for writing Amy Winehouse's most famous cover song ("Valarie"), their latest album The Big Decider is such a strong album from a band that was on hiatus for years that most folks probably thought they broke up for good. Nope. Ted's picks center on bigger names like The Cure's Songs Of A Lost World. While the album is light on hooks, it's pretty heavy on misery, which, considering Robert Smith world view is not a surprise. While The Cure's music is not for everyone, those who loved their 1989 release Disintegration will find The Cure's latest album a very familiar experience. Pearl Jam knocked it out of the park with Dark Matter. The title track and the song "Won't Tell" are two that stood out in this incredibly strong collection of songs. Keith notes that a good amount of credit goes to producer Andrews Watt, who has a knack for bringing out the best in older acts like Pearl Jam, The Rolling Stones, Ozzy, and the like. Single Play highlights not related to comebacks: Paper Citizen's "Car Stereo"-- a song dedicated to the importance of friendship in one's life and right up there in Ted's top singles of 2024. Linkin Park's "The Emptiness Machine" is a welcome return to form. Now that they have a new singer, it has brought to the forefront a very 20-something energy that recalls Paramore back in the day. Music Royals While the boys like Kendrick Lamar and Drake dissed each other in 2024, the girls like Charlie XCX (brat), Ariana Grande (Eternal Sunshine and Wicked), Sabrina Carpenter (Short n' Sweet), Dua Lipa (Radical Optimism), and Chappell Roan where all about community and supporting each other's music and careers. And finally, as the Eras Tour came to a close, Taylor Swift showed what spreading the wealth means. She's now a billionaire, but she gave back to her employees with $100,000 bonuses after the tour ended. Now, as the year is winding down, Keith said he's going to spend a lot of time with Swift's The Tortured Poets Department, while Ted is going to spend more time looking for rock bands with whom he is unfamiliar -- you know, if we're being grammatically correct here.
References Acta Physiologica (Oxford)2024. V.240, Issue 3 e14107 Int. J. Mol. Sci. 2023, 24, 5564 Simon, Paul and Bruce Woodley. 1966.The Cyrkle. "Red Rubber Ball" https://open.spotify.com/track/6DuLN8tFW0DkH9wsbTHZsX?si=3bc8b99f3ae34ac6 Robert Fripp, Ian McDonald, Greg Lake, Michael Giles, Pete Sinfield English 1969. "Court of the Crimson King" King Crimson https://open.spotify.com/track/3kzbkZtBqamTgyO31DO1Sn?si=ff8d5fd6194740d6 Mendelsshon. F. 1830. Overture:"The Hebrides/ Fingal's Cave" Op. 26. https://open.spotify.com/track/5u04CcLiM8zflXQIPcyprv?si=2b08f07ddbe34ed0 --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support
This afternoon's program features tuneage from The Blue Dolphins, Oliver Nelson, Sting, Van Morrison, Christopher Cross, Chuck Mangione, Style Council, Bob Lind, James Lee Stanley, James Lee Stanley w John Batdorf, Beatles, The Cyrkle, Judy Collins, Jefferson Airplane, Simon & Garfunkel, Moby Grape, Love, Fleetwood Mac, Savoy Brown, Steely Dan, Chicago Transit Authority, Gypsy and Blood Sweat & Tears.
GGACP bids a heartfelt farewell to our late colleague and occasional "researcher," the much-beloved Paul "Raybone"Raeburn, with this ENCORE of a mini-episode from 2019. This week: McCartney & Lennon!? “Surfin' Bird”! “Sunshine, Lollipops and Rainbows”! Gilbert covers Cyrkle! And the not-quite-triumphant return of Zager and Evans! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week we're MONKEEING AROUND with Derek Miner, of Mixing Links: The Monkees on Disc and CutOut Bin, for a freewheeling conversation about The Monkees' 2020 LIVE album along with our favorite Monkees concert memories! We also discuss the upcoming release of Davy Jones' Incredible from 7a Records and The Monkees – Smoke-Filled Dreams (The Unseen Photo Archive Of Joe Russo) coming soon from Beatland Books! Our 'You May Also Like' recommendation this week is The Cyrkle's latest release, Revival, from Big Stir Records... which includes a song written by Andrew Sandoval! Monkeeing Around is a part of the ESO Podcast Network, Executive Producer Mike Faber. #monkees #7arecords #davyjones #mickydolenz #mikenesmith #petertork #beatlandbooks #mikeandmickyshow #cyrkle #andrewsandoval #davyjonesincredible #smokefilleddreams #joerusso #60spop #60stv
RockerMike and Rob Presents: Don Dannemann from The Cyrkle The Cyrkle was an American rock band formed in the early 1960s. They gained fame in the mid-1960s with hits like “Red Rubber Ball” and “Turn-Down Day.” Their music is characterized by catchy melodies and harmonies, and they were associated with the “British Invasion” sound of the era. The band disbanded in the late 1960s, but their music continues to be appreciated by fans of 1960s pop and rock. Don Dannemann is best known as a founding member of the 1960s rock band The Cyrkle. He was the guitarist and vocalist for the group, which gained popularity with hits like “Red Rubber Ball” and “Turn-Down Day.” Dannemann co-wrote many of The Cyrkle's songs and contributed to their distinctive sound. After The Cyrkle disbanded in the late 1960s, Dannemann pursued other musical projects and collaborations. While he may not have achieved the same level of fame as some of his contemporaries, his contributions to 1960s pop and rock music are still remembered and appreciated by fans of the era. https://thecyrkle.com/ https://youtube.com/playlist?list=PLpp15wJ5Q2z45iKeZuRukivJkVO_zPj4S&si=o4bwRONd9USLd0Be https://m.facebook.com/thecyrkle https://www.instagram.com/thecyrkle?igsh=MW1rN3h1NzVoNzdtYQ== https://x.com/the_cyrkle?s=21&t=Mzw5de5zsR-SDDbhyzH0Lg https://www.tiktok.com/@thecyrkle #TheCyrkle #60sMusic#ClassicRock #RedRubberBall #TurnDownDay #PopMusic #MusicLegends #RockBand #MusicHistory #Nostalgia Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup
Don Danneman, founding member of The Cyrkle, returns to our studio to announce that 58 years after the band's first hit single, Red Rubber Ball, The Cyrkle are releasing a great new single "Dance With Me Tonight" and a new album "Revival".
This episode Cyrkle B is back!! It's Season 2 of Love Addict the podcast with Cyrkle B. and the revamp of the podcast is on! Cyrkle chops it up with Jay on all things from Beyoncé to Taylor Swift to Megan Thee Stallion to Nikki Haley strap up your seat belts and get ready for an epic season two; come on in and sit down a spell, we got some things to talk about!Like. Share. Subscribe.Email me feedback or topics for discussion at theloveaddictguru@gmail.comOrder your copy of #LOVEADDICT | A Memoir at my website: https://www.theloveaddict.org/Website: Love Addict the podcast with Cyrkle B.
The Cyrkle - 59th Street Bridge Song One Iota -More Than This Barry Manilow - Looks Like We Made It Jay Kurdy - Rise Again Simon Collins - So RealHelen Counts - Speak To Me Geoffrey Raines - LuckyBryce Green - Our Love VXXK - To The Ceiling Erik Hansson - Send Me A SignJJ Kane - Everything That Glitters Is Not Gold Goerge Michael And JJ Kane - Jesus To A Child Night Hymns -Drink To Me Billy Currington - People Are CrazyMaxmillian - Real Men DanceSupport the showFollow Me On Twitter @Caravanmediapr
Bert Berns and Nat Weiss are two giants of the music industry, yet both relatively unknown to the public. Bert Berns was one of the foremost songwriters and producers of pop and rhythm and blues in the ‘60s. His hits include “Twist And Shout”, which The Beatles took to international fame, “Piece Of My Heart”, Janis Joplin's gigantic hit, “Hang On Sloopy”, the mega-hit for The McCoys, “Cry To Me”, a hit for Solomon Burke and later for The Rolling Stones, and “Tell Him”, a great early ‘60s song for the Exciters. His producer credits include “Brown Eyed Girl”, Van Morrison's first smash hit, "Under The Boardwalk" by The Drifters, and "Cherry Cherry" by Neil Diamond. Nat Weiss was a lawyer by training. He became the U.S. business partner of Brian Epstein, the manager of The Beatles, and was Brian's right hand man for the band in America, including sorting out all the merchandising opportunities coming their way. Nat parlayed this relationship into one where he would suggest artists for Brian to manage, including The Cyrkle. They formed a management company together and, after Brian's death, Nat continued the business, managing artists like James Taylor.---------------------------------------------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.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but 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.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)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 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
Sandy Linzer is a hit songwriter-producer, one of the greatest of the rock generation. He's written hits for The Four Seasons like “Working My Way Back To You”, “Let's Hang On” and “Dawn (Go Away)”. He wrote “A Lover's Concerto” for The Toys and “Keep The Ball Rollin'” for Jay and the Techniques. He's also written songs for The Monkees and The Cyrkle. And he wrote “I Believe In You”, a #4 hit for Whitney Houston.My featured song is “The Night Was A Mystery”. Spotify link. ---------------------------------------------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.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but 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.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)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 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
or direct download here.Two Toppers in one month? That's madness! Christmas madness? New Year's fever?? Hanukkah insanity??? And yet it is so. Features music by The Cyrkle, Heavenly Melody, Feebe N' the Ragweed Patche, Sam Cooke, Nichts, Leo Kottke, Charanjit Singh, Penny Saints, Tide Cartwright, Heavenly Melody (again), JJ Cale, Peter Peter Ivers Band, Dave Frishberg, Jimmie Dale Gilmore, The Sandals, The Soul Stirrers (with Sam Cooke), and Chrome off their Alien Soundtracks LP.
The Cyrkle hit the top of the charts in 1966 with two big hits: "Red Rubber Ball", co-written by Paul Simon, which reached #2, and "Turn Down Day", which reached #16. The band had a special relationship with The Beatles - they were managed by Brian Epstein, got the unique spelling of their name from John Lennon, and opened for The Beatles on their 1966 U.S. tour including their last live stadium concert appearance at Candlestick Park in San Francisco. Don Dannemann is an original member of the band, and together with Mike Losekamp and Pat McLaughlin, they tell the Cyrkle's story.My featured song is “To The Zoo!”. Spotify link. ---------------------------------------------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.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but 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.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Listener Reviews:Saturday Morning:”A neat and simply happy song!””It's so cute and fun. It's describing a world I wish I lived in every day!”Like Never Before:”Great message!””Great song, very perceptive lyrics!”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 the Cyrkle:www.sundazed.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.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
This week's show, after a 1979 Joe Jackson jam: Madness, Subways, Dandy Warhols, Emma Anderson, Clientele, Fawns of Love (with Robin Guthrie), and The Cyrkle, plus Jimi Hendrix Experience, Hollies, Lee Hazelwood, Aretha Franklin, Flying Burrito Brothe...
This is a tribute to Terry Kirkman and The Association. We will be listening to select tracks from the band and hear Terry's singing and harmonizing with his band. This is in onor of is memory.We will also listen to another great American band, The Cyrkle. They were managed by Brian Epstein, The Beatles manager and had their first hit single written by Paul Simon for them. Please feel free to donate or Tip the show at sonictyme@yahoo.comPlease have a look at these special interest sites.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookEmma Bonner-Morgan Facebook music pageThe Music Of Emma Bonner-Morgan | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/
A fast moving hour of bubblegum sweetness! A dramatic reading of Danny Partridge and his escape from kidnappers! We've heard of Herb Alpert, but who's Dore Alpert? What bubblegum band was the first member of the Louisiana Music Hall of Fame? Ellen Greenwich as a solo artist! A couple of commercials sung by The Cyrkle! And a whole bunch more bubblegum pop by The Ohio Express, The Partridge Family, The McCoys, Trini Lopez, Bobby Sherman, Rodney Allen Rippy, The Jackpots, The Jalopy Five, The 1970 English World Cup Team, Dana Countryman, Cyan, John Fred and his Playboy Band, The Garden Gnomes, and The Cattanooga Cats!
A fast moving hour of tasty bubblegum sweetness! Ellen Greenwich sings her own songs! Will Danny Partridge survive a kidnapping? We've heard of Herb Alpert, but who's this Dore Alpert? A double bubble of commercials from The Cyrkle! Adorable Rodney Allen Rippy! A whole bunch of bubblegum pop from Bobby Sherman, Trini Lopez, The Partridge Family, The McCoys, The Ohio Express, Dana Countryman, The Cattanooga Cats, John Fred and His Playboy Band, Cyan, The Garden Gnomes, The Jackpots, The Jalopy Five, and The 1970 English World Cup Team!
This week we're Monkeeing Around with Beautiful: The Carole King Musical, which we saw at the Aurora Theatre in Lawrenceville, Ga! We also discuss what happening in the world of the Monkees with Dolenz Sings R.E.M., Micky Dolenz' new EP from 7a Records, Micky's record release party at Wuxtry Records followed by an event to benefit Make a Wish Athens, Ga, the pre-order information for Beatland Books' I'm Told I Had A Good Time: The Micky Dolenz Archives, Vol. 1, and Friday Music's reissues of Micky Dolenz Puts You to Sleep and The Monkees' debut album! Our 'You May Also Like' segment this week is a roundup of upcoming releases from Sixties acts including The Rolling Stones, The Cyrkle, The Ventures, Strawberry Alarm Clock, Ringo Starr, and The Beatles! This is an episode you don't want to miss! Monkeeing Around is a part of the ESO Podcast Network, Executive Producer Mike Faber.
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
Today's show features Fathers Day & Juneteenth themed tuneage during the 2nd Hour. Joinong us were Gil Scott Heron, Lou Reed, Laura Nyro, The Eagles, Beatles, Kinks, Temptations, Doobie Brothers, Led Zeppelin, Leonard Cohen, Love, Rascals, Kenny Rankin, Joni Mitchell, The Lovin' Spoonful, Cyrkle, Nilsson, Chewy Marble, Ray Charles, Bill Withers, Paul Simon, Cat Stevens, Billie Holiday, Bill Evans, Chambers Brothers & Simon & Garfunkel.
"And you may find yourself living in a shotgun shackAnd you may find yourself in another part of the worldAnd you may find yourself behind the wheel of a large automobileAnd you may find yourself in a beautiful house, with a beautiful wife And you may ask yourself, "Well... how did I get here?"Well, don't look a Gift Horse in the mouth. Please join me and I'll try to answer these questions with music beginning at 3 PM on KXFM 104.7. Yes, It's the Saturday Edition of Whole 'Nuther Thing.Joining us are Laura Nyro, Shuggie Otis, Peter Himmelman, Joe Jackson, Tears For Fears, Nilsson, Flo & Eddie, The Doors, Rolling Stones, Critters, Cyrkle, Robin Trower, Jackson Browne, Patti Smith, Todd Rundgren, Neil Diamond, Dave Mason, Lovin' Spoonful, Janis Joplin, Bruce Springsteen, Traffic, Eric Burdon &The Animals, Fleetwood Mac, and Talking Heads...
"It's nature's way of telling you something's wrongIt's nature's way of telling you in a songIt's nature's way of telling you, it's in the breezeIt's nature's way of telling you, dying trees, warming seasIt's nature's way of receiving you, it's nature's way of retrieving youIt's nature's way of telling you something's wrong"Today we honor our home, this Third Stone From The Sun.Please join me on this Earth Day 2023 as I return to our Studio in beautiful Laguna Beach for the first time in 8 weeks. Joining us are The West Coast Pop Art Experimental Band, The Eagles, Pretenders, Meat Loaf, Exile, Crosby, Stills & Nash, The Rascals, Motels, Left Banke, Quicksilver Messenger Service, Gino Vanelli, The Youngbloods, Billy Joel, John Mayall, Bee Gees, Doobie Brothers, Led Zeppelin, Judy Collins, Small Faces, Loggins & Messina, New Colony Six, Lovin' Spoonful, The Cyrkle, Simon & Garfunkel, Nitty Gritty Dirt Band, Orpheus, Spanky & Our Gang, Zombies and Spirit.
Hello Friends! As is routine, it's time for me to pull out a slightly left-field pick for the show, which means today we're looking at the fantastic LP Neon by The Crykle. Released in 1967 on Columbia in the USA and CBS in the UK, this LP is chock full of killer melodies, fantastic performances, and was issued in two great mixes. As was often the case on Columbia, we either end up with songs that sound very close, or songs with some very dramatic and clear differences, and today we have a lovely helping of both! From edits to shorten tracks, differing speeds, instruments dropping in and out, and changing levels of echo, we've got plenty to dig into today. So, with a Sundazed CD in one hand, and a sealed US Mono LP in the other, our mix choice is in question. Happy Listening, Frederick Patreon Email Instagram Back to Mono
The Cyrkle band was formed by guitarists and lead singers Don Dannemann and Tom Dawes (who also played bass guitar), and Jim Maiella (the original drummer), who all met while studying at Lafayette College in Easton, Pennsylvania. Dannemann enlisted in the US Coast Guard in 1966. The other members were Earle Pickens on keyboards and Marty Fried on drums. They were originally a "frat rock" band called The Rhondells but were later discovered and managed by Brian Epstein, who was best known as manager of the Beatles. Epstein found out about the band when his business partner, New York attorney Nathan Weiss, heard them in Atlantic City, New Jersey, on Labor Day of 1965. Epstein became their manager and renamed them, as a reference to the circular roundabout known as Centre Square, located in downtown Easton. John Lennon provided the unique spelling of their new name. They were produced by John Simon. In the summer of 1966, they opened on 14 dates for the Beatles during their US tour. On August 28, they headed the opening acts performing prior to The Beatles at Dodger Stadium. The other artists who appeared were Bobby Hebb, the Ronettes, and the Remains. Before touring with The Beatles, the Cyrkle had an engagement at the Downtown Discothèque in New York City. They were also on the bill for the final Beatles concert at Candlestick Park on August 29, 1966. The Cyrkle is best known for their 1966 song "Red Rubber Ball", which went to No. 2 on the Billboard Hot 100 chart. It sold over one million copies, and was awarded a gold disc. It was co-written by Paul Simon, of Simon and Garfunkel, and Bruce Woodley of The Seekers, and was released by Columbia Records. Later in 1966, the band had one more Top 20 hit, "Turn-Down Day" (No. 16). After the release of their debut album, Red Rubber Ball, they recorded a second album, Neon, in late 1966, and a movie soundtrack, The Minx, in 1967 (not released until 1970). They followed that with various singles and then disbanded in mid-1968. Both Dawes and Danneman became professional jingle writers after the Cyrkle disbanded. Dawes wrote the famous "plop plop fizz fizz" jingle for Alka-Seltzer. Danneman wrote jingles for Continental Airlines and Swanson Foods. He penned the original 7Up "Uncola" song. Dawes produced two albums for the band Foghat, Rock & Roll (1973) and Energized (1974), and co-wrote the song "Wild Cherry" on the latter. Marty Fried left the music business to attend law school and graduated from Wayne State University in Detroit in 1972. He worked as a bankruptcy attorney in suburban Detroit. Earle Pickens became a surgeon (retired) in Gainesville, Florida.
On today's show, we have something very special that couldn't wait until the 200th episode to upload. It's the reunion of the 60s pop group The Cykle, famous for their hit Red Rubber Ball. The entire touring group along with producer Dan Coston is here to discuss their reunion, their tour and their latest album. Here they are, Dan Coston with The Cyrkle. Plus, the usual Fun Ideas Productions news.
On today's show, we have a returning guest who is here to talk all about the reunion album he has produced for the 60s group, The Cyrkle, best known for Red Rubber Ball. Here he is, Dan Coston. Plus, the usual news from Fun Ideas Productions.
In this episode, we speak with Don Danneman, founder of the great 60's Band The Cyrkle. The Cyrkle has reunited recently and are releasing their first new album in over 50 years!
Hey Guys! very exciting news for all of you. I have scheduled the release for my first single plus I have a release show around then as well, so please listen to this episode if you would like more details about that. but both things will be happening in October, the release show is on the 11th, the song comes out on the 19th. so please keep those two dates in mind, for now, please do check out this podcast. this week I tackle a VERY cool song that you may not be familiar with if your a millennial, but I know it's something you'll love if your into country rock by artists like Miranda Lambert and Carrie Underwood, cause it is definitely within that style. here's the link to this song just in case you wanted to listen to it: https://www.youtube.com/watch?v=dyEWCNCKxyk don't forget to also follow me & reach out to me on Instagram& Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies?fromUrl=%2Fiheartoldies&lang=en don't forget to also check out the official premium subscription version of this podcast. I just dropped an interview with the original lead singer and guitar player for the Cyrkle (they were managed by Brian Epstein, yes the guy who managed the Beatles), so we had another fun conversation that I definitely want you to hear, here's the link to where you can listen to it: https://themillennialthrowbackmachine.supercast.com please do also check out the last EP I put out. I have all of the masters for the next one, but please do check out this one in the meantime, I hope you enjoy theses songs and you really like them a lot, and if you do, please email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram and Tik Tok @iheartoldies: https://distrokid.com/hyperfollow/samlwilliams/turquoise-apricot also please do check out the two interviews I did with Honk Magazine and ShoutoutLA. would love it if you could read these and you could let me know whatcha think of them, because I reveal a lot about myself in these interviews, and I hope to get more press soon now that I will have more new music coming out soon. I hope you enjoy these interviews and if you did, please email me at samltwilli@icloud.com, you can also reach out to me on Instagram and Tik Tok @iheartoldies: https://honkmagazine.com/sam-l-williams-talks-about-his-career-path-influence-and-new-music/ https://shoutoutla.com/meet-sam-l-williams-musician-songwriter-podcast-host/ also do check out the official Spotify and Youtube playlists for this podcast. here you'll be able to find all of the songs I have talked about on my show so far including some of the ones that I have mentioned in interview episodes of my podcast. I hope you enjoy these playlists, and if you have any suggestions for songs I should talk about next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram and Tik Tok @iheartoldies: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf don't forget to also check out the official Redbubble Merch store for this podcast. here you'll be able to find all of these SUPER cool merch items that have this logo that is specific to this podcast. I hope you like the logo, and if you have any feedback for me on the logo plus the prices of each item in the store, definitely email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram and Tik Tok @iheartoldies: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-owner If you liked this song and my take on it, definitely email me at samltwilli@icloud.com. and I will see you guys next week.
"We are stardust, billion year old carbonWe are golden, caught in the devil's bargainAnd we've got to get ourselves, Back To The Garden"Please join me on the Sunday Edition of Whole Nuther Thing as we get back to the garden and pay homage to a Festival that defined a generation. Also joining us are Garland Jeffreys, Love, Dire Straits, Counting Crows, The Beach Boys, Bette Midler, Dave Mason, Chicago Transit Authority, The Cyrkle, Beatles, Spirit, Linda Ronstadt, Traffic, The Guess Who, ELO, Lovin' Spoonful, Bob Dylan, Mamas & Papas, Jefferson Airplane, and Joni Mitchell...
hey Guys! so I have some exciting news for you. the first single off my second EP is coming out in October, so please do follow my artist page on Spotify so that way you can get notified when the song comes out. My artist name is Sam L. Williams. this week I dive into the history behind last week's artist and song which was Billy Stewart's Sitting In The Park. here I talk about the history behind the label this song was released on, plus the history behind the label's recording studio plus the musicians that played on their records. here's the link to last week's song just in case you wanted to listen to it: https://www.youtube.com/watch?v=g14VdGTDt64 don't forget to also follow me & reach out to me on Instagram And Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies?fromUrl=%2Fiheartoldies&lang=en Please do also check out the Last EP I put out last year as well. I love this EP so much, and you'll love the next one as well, but you will want to prepare yourself for the next one by listening to this one. if you like the songs on here, please email me at samltwilli@icloud.com, you can also follow me and reach out to me on Instagram @iheartoldies: https://distrokid.com/hyperfollow/samlwilliams/turquoise-apricot don't forget to also check out the official Spotify and YouTube playlists for this podcast. here you'll be able to find all of the songs that I have talked about on my show so far including some of the ones that I have mentioned in interview episodes of this podcast. if you enjoyed these playlists and you would like to suggest to me songs I should talk about next on my podcast that I haven't yet, please email me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj https://www.youtube.com/watch?v=g14VdGTDt64&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf&index=136 please do also check out the two interviews I did last year with Honk Magazine and ShoutoutLA. would love it if you could read those and you could let me know your thoughts on them. I revealed a lot about myself in these interviews and I hope you found them educational about me and if you would like to meet me if you are based in LA, please feel free to reach out to me at samltwilli@icloud.com, you can also follow me and reach out to me on Instagram and Tik Tok @iheartoldies: https://honkmagazine.com/sam-l-williams-talks-about-his-career-path-influence-and-new-music/ https://shoutoutla.com/meet-sam-l-williams-musician-songwriter-podcast-host/ don't forge to also check out the official Redbubble Merch store for this podcast. if you enjoyed it and liked all of the merch items plus the prices of each item in the store, definitely email me at samltwilli@icloud.com, you can also follow me and reach out to me on instagram and Tik tok @iheartoldies: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-owner also, don't forget to check out the premium subscription version of this podcast. you will hear all of the current interviews that I'm doing for it, and I just dropped my seventh premium interview (part two with Don Dannemann of the Cyrkle) and I will have one more coming out soon. here's the link to where you can sign up right here: https://themillennialthrowbackmachine.supercast.com don't forget to also check out my last music video. my next one is in the works. definitely let me know whatcha think of it. my email is samltwilli@icloud.com: https://www.youtube.com/watch?v=LTbmSoW6RyY if you learned a lot about Billy Stewart and Chess Records from listening to this episode of this podcast and your a younger person, please email me at samltwilli@icloud.com and I'll see you next time.
David Fleming speaks to Dennis Tufano about not only his work with The Buckinghams, but doing the music of Bobby Darin - with a live disc out. We'll hear about some of The Buckinghams' hits - including one of my favorite jazz tunes - given lyrics then hitting the charts.Dennis Tufano will be in San Bernardino quite soon as part of the lineup on the "Diamond Ring & Devil Tour" along with Gary Lewis & The Playboys, Mitch Ryder, Tom Garrett and The Classics IV, and The Cyrkle. That's August 20th at California Theatre of the Performing Arts in San Bernardino. More at affordablemusicproductions.com.
In the latest episode of Something Will Happen, Melissa talks with Don Dannemann of the Cyrkle. Don is one of the two original members that will be performing at Abbey Road on the River this May. Don shares the history of the Cyrkle and what it was like to work with Beatles' manager Brian Epstein.
Guests: Don Dannemann, Gary Lane & Larry Lane Don Dannemann of The Cyrkle shares the story of how he got the chance to make new music with his late partner, Tommy Dawes. Filmmakers Gary and Larry Lane discuss their documentary, STILL WORKING 9 TO 5, which looks at the lasting impact of the film, 9 TO 5.
Don Danneman, co-founder and lead singer of the great 60's band The Cyrkle, returns to Retro Rock Roundup to talk to us about the history and impact of their hit song "Red Rubber Ball" and the very special story behind their latest single "We Thought We Could Fly".
We Thought We Could Fly-Don Dannemann Of The Cyrkle Talks About His New Song#music #Cyrkle #recordcollector #60smusic #newmusic Don Dannemann talks about his new song. He is the lead singer and guitarist of The Cyrkle.The Cyrkle is best known for their 1966 song "Red Rubber Ball", which went to No. 2 on the Billboard Hot 100 chart. It sold over one million copies, and was awarded a gold disc.[4] It was co-written by Paul Simon, of Simon and Garfunkel, and Bruce Woodley of The Seekers, and was released by Columbia Records. Later in 1966, the band had one more Top 20 hit, "Turn-Down Day" (No. 16). After the release of their debut album, Red Rubber Ball, they recorded a second album, Neon, in late 1966, and a movie soundtrack, The Minx, in 1967 (not released until 1970). They followed that with various singles and then disbanded in mid-1968.Website: http://www.thecyrkle.com/Facebook: https://www.facebook.com/thecyrkle/Youtube: https://www.youtube.com/channel/UC7glRSCJjcD65m9a6-nuilATwitter: https://twitter.com/the_cyrkleThe Vibes Broadcast Network - Podcasting for the fun of it! Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/And Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehab
Hey Guys! so this week is show week for me, and tonight, I"m playing at Trip in Santa Monica and my set time is 9pm and it's free!. hope to see you there. this week I travel back to the British Invasion, and I do probably one of THEE MOST underrated 60's groups of all time, but these guys were SO GOOD! and they were REALLY good and creative musicians from the British Invasion, and today I'm doing one of their songs, so I hope you enjoy my analysis and breakdown of this song and next week, I'll dive more into the history behind this band. for now, please enjoy this song: https://www.youtube.com/watch?v=XOI4yAPYmag You can also follow me & reach out to me on Instagram & Tik Tok right here:https://www.instagram.com/iheartoldies/https://www.tiktok.com/@iheartoldiesdon't forget to also check out more of my original music right here:https://www.samwilliamsmusic.netPLEASE do also subscribe to the premium version of my podcast. every premium subscriber I get helps me become more of a professional podcaster and as a premium subscriber, you will get access to all of the latest interview episodes I am currently doing for my podcast with legendary 60's musicians such as Felix Cavaliere, lead singer songwriter and keyboard player for the Rascals, and up and coming ones such as with Don Dannemann, the lead singer and guitar player for the Cyrkle:https://themillennialthrowbackmachine.supercast.complease do also check out the EP I put out last year and let me know what you think of it. I"m very excited to announce that I"m recording the next EP right now and that will be out hopefully by the summer, for now please do enjoy this one and definitely let me know whatcha think of it. you can do that by emailing me at samltwilli@icloud.com: https://distrokid.com/hyperfollow/samlwilliams/turquoise-apricotplease do also check out the two interviews I did last year. I hope to do more of them soon. if you would like to meet me in person if you are in LA after reading these interviews, please email me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies: https://honkmagazine.com/sam-l-williams-talks-about-his-career-path-influence-and-new-music/https://shoutoutla.com/meet-sam-l-williams-musician-songwriter-podcast-host/please do also check out the official Spotify and Youtube playlists for this podcast, here you'll be able to find all of the songs I have talked about on my show so far including some of the ones mentioned in interview episodes of my podcasts. if you liked these playlists and you would like to let me know whatcha think of the songs on there and would like to suggest songs I should cover next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies:https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMjhttps://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nfdon't forget to also check out the Official Redbubble Merch store, here you'll be able to find all of these super cool Merch items that are exclusive to this podcast, I hope you enjoy these and if you would like to purchase something, PLEASE email me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-ownerdon't forget to also check out the official youtube video for one of the songs I put out last year as well. I hope you enjoy it please do let me know whatcha think of it . I did shoot another music video recently but I plan on re recording the song I shot a music video for so it won't be out for a while, but you can enjoy this one. please do let me know whatcha think of it, you can do that by emailing me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies: https://www.youtube.com/watch?v=LTbmSoW6RyYif you liked my analysis on this week's song and you have NEVER heard of it before and you fell IN LOVE with this band and your around my age PLEASE email me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies.
"Times are hard, you're afraid to pay the feeSo you find yourself somebody, who can do the job for freeI'm a fool to do your dirty workOh yeah, I don't wanna do your dirty workNo more, I'm a fool to do your dirty work, "Oh yeah"I won't do your dirty work however I will share my musical passion with you on the Sunday Edition of Whole 'Nuther Thing. Joining me today are Black Keys, Radiohead, Little Feat, Cyrkle, Ozark Mountain Daredevils, U2, Jeff Buckley, Rascals, Squeeze, Pink Floyd, Savoy Brown, Elvin Bishop, Wayne Fontana & The Mindbenders, Quicksilver Messenger Service, Doors, Syndicate Of Sound, Fleetwood Mac, Rolling Stones, Grass Roots, Jeff Beck, Byrds, Allman Brothers, Les Dudek, Love and Steely Dan. I'll also pay tribute to Gary Brooker who we lost last weekend.
Not Your Mother's Goose is back just in time for Christmas, with Frosty, Rudolph, and a massive update in the Tournament of Disney Rides. We've narrowed the field to the final 16 (VOTE NOW at notyourmothersgoose.com!), and we've got all the breakdowns and analysis your MagicBand can handle. Plus:* In the news, Peloton Releases It's New In-House Flying Carpet, plus The Beast Is Named Grand Marshal of the Rose Parade (he can bring his own rose)* We'll scamper around Paris with Remy from Ratatouille* Andrew Mitchell is back on Rapunzel's Jukebox, as The Cyrkle's "Red Rubber Ball" turns into "Red Riding Hood"
This week Mike interviews the great 60's band The Cyrkle who had the great #2 hit in 1966 " Red Rubber Ball"
J.O.T. #125 I After a slight summer break, Jay & Cyrkle B are back like cooked crack! This time their joined by their good friend & special co-host Z (@kabeebs). On this episode Jay & Cyrkle got to catch up with what each other been doing during the "break" & then we took the conversation to Ms. Health & Fitness herself (that's right we speaking it into existence). Everybody wanna know how to do the fitness thing the right way so we got so caught up in that conversation & we couldn't even get into our Pound 4 Pound/Righteously Ratchet segments but don't worry -- stay tuned for that next week. Anyway, stay tapped in with us by following everything J.O.T. on the linktree, below.Like.Share.Subscribe. ► https://linktr.ee/Jumpin_Out_ThereAlso, go vote for Z for Ms. Health & Fitness 2021► https://mshealthandfitness.com/2021/azizza-dav
The Black Panthers are founded, The Beatles are bigger than Jesus and Vietnam rages on in the tumultuous year of of our focus this week. Also, The Cyrkle and Ray Conniff would find themselves on the Billboard Hot 100. Join our host Micah McKee, his trusty robot sidekick, Rando, and special guest, Keith Mannina for a trip back to 1966 to talk about a couple of the less likely tunes to make the charts on this installment of American 100!
The song still stands up today as one of the great singles of the 60's See omnystudio.com/listener for privacy information.
Episode 47 -- We really don't need to say it but we will anyway - Black History should be celebrated all year & on this episode, Lil Jay & Cyrkle discuss some of the things that we may still need to work on as a people as well as the great things we have accomplished, thus far & much much more. Anyway, holla at us on IG @jumpin.out.there.pod, FB/Twitter @JumpinPod, or by email at jumpinpodcast@gmail.com if you would like to continue this conversation, submit a righteously ratchet story, or be featured on the show.Scroll to the bottom to rate & 'Write a Review' (iPhone users): https://podcasts.apple.com/us/podcast/jumpin-out-there/id1449684730Sponsor: @smittyfreshcutz on Instagram
Episode 43 -- On this first episode of 2020, Lil Jay & Cyrkle discuss a potential war, JR Smith & his wife, and much much more. Anyway, holla at us on IG @jumpin.out.there.pod, FB/Twitter @JumpinPod, or by email at jumpinpodcast@gmail.com if you would like to continue this conversation, submit a righteously ratchet story, or be featured on the show.Scroll to the bottom to rate & 'Write a Review' (iPhone users): https://podcasts.apple.com/us/podcast/jumpin-out-there/id1449684730Sponsor: @twemini_products on Instagram www.on1eclothing.com
Episode 38 -- On this special episode recorded on Thanksgiving, Lil Jay & Cyrkle sat down with their family to talk about all kinds of stuff such as the Harriet Tubman movie, and much much more. We were all over the place on this one but we had fun! Anyway, holla at us on any of our socials or by email if you would like to continue this conversation or discuss any potential topic(s).Scroll to the bottom to rate & 'Write a Review' (iPhone users): https://podcasts.apple.com/us/podcast/jumpin-out-there/id1449684730Sponsor: @fulishfoodscatering on Instagram
Episode 21 -- In this week's episode, the good man @dmorg81 stopped by to chop it up with Jay & Cyrkle about the infamous OJ Simpson murder trial (of the century). Make sure you check out who or what jumped out there on this show as well as the 'WTF Moment of the Week'. Also, we introduced our newest segment, 'Righteously Ratchet'. Anyway, email us if you would like to continue this conversation, discuss any potential topic(s), or even to send a righteously ratchet story at jumpinpodcast@gmail.com. Twitter -- https://twitter.com/JumpinPodInstagram -- https://www.instagram.com/jumpin.out.there.pod/Facebook -- https://www.facebook.com/jumpinpod/Scroll to the bottom to rate & 'Write a Review' (iPhone users): https://podcasts.apple.com/us/podcast/jumpin-out-there/id1449684730Sponsor: @smittyfreshcutz on Instagram
Episode 20 -- In this week's episode, we continued to celebrate having Cyrkle on board by having our conversation on HBCUs vs. PWIs. Make sure you check out who or what jumped out there on this show as well as the 'WTF Moment of the Week'. Anyway, email us if you would like to continue this conversation or if you want us to discuss any potential topic(s) at jumpinpodcast@gmail.com. Twitter -- https://twitter.com/JumpinPodInstagram -- https://www.instagram.com/jumpin.out.there.pod/Facebook -- https://www.facebook.com/jumpinpod/Scroll to the bottom to rate & 'Write a Review' (iPhone users): https://podcasts.apple.com/us/podcast/jumpin-out-there/id1449684730Sponsor: www.sashababybutters.com
Episode 19 -- In this week's episode, we introduced the newest member to Jumpin Out There, the first lady of the podcast -- our girl Cyrkle; as always we sat down as a family to chop it up about the shooting at the Raptors championship parade, Moechella 2, a funny conversation on 'No Cap', and other things that happened in the culture. We had so much fun on this episode that we couldn't even get into who jumped out there on this show or the WTF moment(s) of the week. Anyway, email us if you would like to continue this conversation or if you want us to discuss any potential topic(s) at jumpinpodcast@gmail.com. Twitter -- https://twitter.com/JumpinPodInstagram -- https://www.instagram.com/jumpin.out.there.pod/Facebook -- https://www.facebook.com/jumpinpod/Scroll to the bottom to rate & 'Write a Review' (iPhone users): https://podcasts.apple.com/us/podcast/jumpin-out-there/id1449684730Sponsor: www.nevetica.shop/mplayer
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