Podcast appearances and mentions of Del Shannon

GGACP celebrates the birthday (b. June 22) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher by presenting this ENCORE of an interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Peter “inspires” Austin Powers, Linda Ronstadt teams with Nelson Riddle and Peter and Gordon play the '64 World's Fair. PLUS: Spike Milligan! Del Shannon! Jackie Gleason acts out! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts!  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's show, after a Beach Boys bathe: brand new The Effigies, Successful Failures, Bob Mould, Robert Forster, Jesse Welles, Brief Candles, and Stalwart Lovers, plus Del Shannon, The Beatles, Zombies, Brian Wilson, Leonard Bernstein, Prince Far I,...

In this episode, I explore the early life of Michigan music legend Del Shannon from his early life in Coopersville to his days in Battle Creek and the hit song Runaway.For more information on the life of Del Shannon, visit:https://delshannon.com/biographyFor information on all of the Del Shannon Weekend events:https://BCRHM.orgFor tickets to the Del Shannon Tribute Concert on June 26th, 2025 at the Kellogg Arena, Click here.For more information on Michael Delaware, visit:https://michaeldelaware.com

Singer and musician Del Shannon - born Charles Westover about 80 miles away in Coopersville, Michigan - is said to have adopted Battle Creek as his hometown.Hence, a growing celebration of the "Little Runaway" singer in the cereal city.West Michigan historian, podcaster and board member of the Battle Creek Regional History Museum Michael Delaware returns to Community Matters to talk about the Del Shannon legacy - and what's evolved into a four-day weekend celebration and fundraiser for the museum.Episode ResourcesBattle Creek Regional History MuseumInfo-Tickets: Del Shannon WeekendOrder Michael's Book Victorian Southwest Michigan True CrimeLISTEN: Tales of Southwest Michigan's PastABOUT COMMUNITY MATTERSFormer WBCK Morning Show host Richard Piet (2014-2017) returns to host Community Matters, an interview program focused on community leaders and newsmakers in and around Battle Creek. Community Matters is heard Saturdays at 8:00 AM Eastern on WBCK-FM (95.3) and anytime at battlecreekpodcast.com.Community Matters is sponsored by Lakeview Ford Lincoln and produced by Livemic Communications.

The Chemistry Set surgieron en el underground psicodélico británico de 1987. Tras una primera etapa que duró hasta mediados de los 90, el cerebro bimotor formado por Dave McLean y Paul Lake volvió a juntarse en el laboratorio. “Introduction to The Chemistry Set” (Fruits de Mer Records) es un doble álbum recopilatorio que sobrevuela esa segunda etapa -de 2009 a 2025- en donde los londinenses han dado forma a los mejores discos de su trayectoria. Aderezamos la sesión recordando un directo The Feelies registrado en 2018, “Somekind of love; performing the music of the Velvet Underground”, donde los héroes de New Jersey ofrecieron un repertorio íntegro de canciones de la legendaria banda neoyorquina.Playlist;THE CHEMISTRY SET “Come kiss me vibrate and smile”THE CHEMISTRY SET “This day will never happen again”THE CHEMISTRY SET “She’s taking me down now”THE CHEMISTRY SET “The open window”THE CHEMISTRY SET “Lovely cuppa tea”THE CHEMISTRY SET “Silver birch”Versión y original; DEL SHANNON “Silver birch” (1968)PATTI SMITH “Pissing in a river” (Live in Oregon, 1978)THE FEELIES “Dancing barefoot” (1989, reed 2025)THE FEELIES “Sunday morning”THE FEELIES “What goes on”THE FEELIES “New age”Escuchar audio

When a musician as legendary as drummer Stan Lynch invests his time and efforts into a new project, I want to know what it is. His new band is called The Speaker Wars and they make the exact kind of American rock and roll you'd expect with Stan's pedigree. The new self-titled album will be out this month. Stan and I also discuss his time with Tom Petty, his relationship with the other guys, what gets him excited about making new music, and some of his collaborations like Eddie Money, Henry Lee Summer and Del Shannon. Stan's a super easy going guy who doesn't seem to have a care in the world. I'm jealous!  www.thespeakerwars.com www.patreon.com/c/thehustlepod

El mes de mayo de 1965 merecía una segunda parte de canciones que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU en ese mes de hace 60 años.Playlist; (sintonía) SOUNDS ORCHESTRAL “Cast your fate to the wind” (top 10)THE ROLLING STONES “Play with fire” (top 96)CHAD and JEREMY “What do you want with me” (top 51)GERRY and THE PACEMAKERS “It’s gonna be alright” (top 23)THE DAVE CLARK FIVE “Reelin’ and rockin’” (top 23)THE DRIFTERS “Come on over to my place” (top 60)DOBIE GRAY “(See you at the) Go Go” (top 69)THE SHANGRI-LAS “Out in the streets” (top 53)THE DIXIE CUPS “Iko Iko” (top 20)CHUBBY CHECKER “Let’s do the Freddie” (top 40)SOUPY SALES “The mouse” (top 76)JULIE ANDREWS and DICK VAN DYKE and THE PEARLIES “Super-cali-fragil-istic-expi-ali-docious” (top 66)THE NEW CHRISTY MINSTRELS “Chim chim cheree” (top 81)LITTLE MILTON “We’re gonna make it” (top 35)TONY CLARKE “The Entertainer” (top 31)ALVIN CASH and THE CRAWLERS “The Barracuda” (top 59)THE KINGSMEN “The climb” (top 65)THE OLYMPICS “Good lovin’” (top 81)DEL SHANNON “Break up” (top 95)THE IMPRESSIONS “Woman’s got soul” (top 29)Escuchar audio

THIS WEEK I'M TAKING YOU BACK TO MY DAYS IN RAPID CITY, SOUTH DAKOTA, WHEN I WAS APART OF RAPID FIRE RADIO WITH MY FRIEND REB RIDER! WE INTERVIEW THE SON OF DEL SHANNON, MR. CRAIG WESTOVER AND JAMES POPENHAGEN FROM 2018, AND ROY ORBISON JR. FROM 2017!   #DELSHANNON #ROYORBISON

Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com – Or message us at bit.ly/44meos1 – Help support GFBS at this donation link - https://bit.ly/3vjvzgX - Access past GFBS Interviews - https://gfbsinterviews.podbean.com/ ON TONIGHT'S EPISODE I CHAT WITH WRITERS GUILD MEMBER GARY GEE, AS WE CHAT ABOUT THE SCRIPT FOR A DEL SHANNON MOVIE, ALSO IM JOINED BY ACTOR AND MN NATIVE MICHAEL O'LEARY! HE WAS IN THE HALLOWEEN SERIES!   #DELSHANNON #GARYG #MICHAELOLEARY #RENEGADERADIO #gfbs #gfbestsource.com #grandforksnd #interview #local #grandforks #grandforksbestsource #visitgreatergrandforks @grandforksnd @THECHAMBERGFEGF #belegendary #followers #everyone

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

In this episode of the IDD Health Matters Podcast, Dr. Craig Escudé sits down with Eddie Tuduri, a world-class drummer whose career included playing with legends like The Beach Boys, Loggins & Messina, Del Shannon, and Ricky Nelson. But in 1997, a life-altering accident left him paralyzed—an event that ultimately led him to create the Rhythmic Arts Project (TRAP), a groundbreaking program that uses rhythm and percussion to enhance learning, communication, and rehabilitation for individuals with intellectual and developmental disabilities (IDD). Eddie shares his inspiring story of resilience, the impact of music in therapy, and how his passion for drumming transformed into a global movement. He and Dr. Escudé discuss the importance of presuming competence, staying inquisitive, and the power of volunteering in making a meaningful impact on the lives of people with disabilities.

In this episode of the IDD Health Matters Podcast, Dr. Craig Escudé sits down with Eddie Tuduri, a world-class drummer whose career included playing with legends like The Beach Boys, Loggins & Messina, Del Shannon, and Ricky Nelson. But in 1997, a life-altering accident left him paralyzed—an event that ultimately led him to create the Rhythmic Arts Project (TRAP), a groundbreaking program that uses rhythm and percussion to enhance learning, communication, and rehabilitation for individuals with intellectual and developmental disabilities (IDD). Eddie shares his inspiring story of resilience, the impact of music in therapy, and how his passion for drumming transformed into a global movement. He and Dr. Escudé discuss the importance of presuming competence, staying inquisitive, and the power of volunteering in making a meaningful impact on the lives of people with disabilities.

Segunda entrega de canciones que alcanzaron su puesto más alto en listas norteamericanas de pop en este mes de hace 60 años. Quedaron muchas cosas fuera del primer episodio que no podíamos pasar por alto.Playlist;(sintonía) THE ARROWS feat DAVIE ALLAN “Apache 65” (top 64)ROGER MILLER “King of the road” (top 4)BOBBY GOLDSBORO “Little things” (top 13)JOHNNY RIVERS “Midnight Special” (top 20)JOHNNY CASH “Orange blossom Special” (top 80)HERMAN’S HERMITS “Can’t you hear my heartbeat” (top 2)GERRY and THE PACEMAKERS “Ferry cross the Mersey” (top 6)THE BEATLES “I don’t want to spoil the party” (top 39)GEORGIE FAME and THE BLUE FLAMES “Yeh Yeh” (top 21)THE NASHVILLE TEENS “Find my way back home” (top 98)THE KINGSMEN “The Jolly Green giant” (top 4)DEL SHANNON “Stranger in town” (top 30)RICK NELSON “Mean old world” (top 96)IAN WHITCOMB and BLUESVILLE “This sporting life” (top 100)JEWEL AKENS “The birds and the bees” (top 3)ROY ORBISON “Goodnight” (top 21)RODDIE JOY “Come back baby” (top 86)DUSTY SPRINGFIELD “Losing you” (top 91)STEVE ALAIMO “Real live girl” (top 77)Escuchar audio

Scott Turow is a writer and attorney. He is the author of fourteen works of fiction, including Presumed Innocent, and most recently, Presumed Guilty, which hit the shelves in January of this year. All of his novels have been New York Times bestsellers. His works have been the basis for film and television projects…last year Apple TV+ released an eight-part limited series based on Presumed Innocent, starring Jake Gyllenhaal. From 1978 until 1986, Mr. Turow worked as Assistant United States Attorney for the Northern District of Illinois prosecuting several high-profile public corruption cases. He has also served on a number of public bodies, including the Illinois Commission on Capital Punishment, which proposed reforms to Illinois’ death penalty system, and he was the first Chair of Illinois’ Executive Ethics Commission, created in 2004 to regulate executive branch employees in Illinois. SONG 1: “We Shall Overcome”...this is a 1962 live recording that’s been remastered…and re-released on the album Every Morning at Half Past Four in 2020. https://youtu.be/KUbkld3Rq2A?si=Xvtm-4JB5lhXLuGF SONG 2: Kermit the Frog singing "Rainbow Connection" - in the 1979 film The Muppet Movie. https://youtu.be/YRPBUeVOimU?si=Uz2a2ICgc1zf_c7a SONG 3: "Runaway" by Del Shannon released in 1961 on his debut album Runaway with Del Shannon. https://youtu.be/0S13mP_pfEc?si=YPul_1R6i_CpLfZLSee omnystudio.com/listener for privacy information.

A companion piece to Radio Rewind, join Dustin as he spins some 45s of songs from the Billboard Hot 100 this week in 1965 & 1975. One hour of hits from the 60s & 70s to enjoy before the gang returns on Friday with your normal dose of Radio Rewind hits.  This week we enjoy some singles from Otis Redding, James Brown, Blue Swede, Conway Twitty, Del Shannon, and more.

National kite flying day. Entertainment from 2002. Dynamite used for 1st time in mining, banjo clock invented, Dallas Texans become Kansas City Chiefs, 1st banana republic. Todays birhdays - Jules Verne, Lana Turner, Audrey Meadows, Jack Lemmon, Nick Nolte, Dan Seals, Mary Steenburgen, Vince Neil, Gary Coleman, Seth Green. Del Shannon died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Lets go fly a kite - Mary PoppinsU got it bad - UsherGood morning beautiful - Steve HolyBirthdays - In da club - 50 Cent http://50cent.com/Honeymooners TV themeBop - Dan SealsYour invited, but your friend can't come - Vince NeilRunaway - Del ShannonExit - Its not love - Dokken http://dokken.net/

Mark,Lou and Perry listen to Del Shannon playing "Runaway also audio clips from the music relish archives plus music trivia and an original song by each of us also a listen and review of the new Ringo Starr album "Look Up" and more fun stuff

This week on RITY, I'll be spotlighting blind musicians for the mini theme... Plus, a song by the son of Doris Day. Plus, his connection to Charles Manson... The original version of Zeppelin's "Lemon Song"... A rare song credited to Suzy And The Red Stripes, but sung by Linda McCartney... Plus deep cuts from Cream, Fanny, Del Shannon, Jo Jo Gunne, Ohio Players, Foghat, and much more! For more info on the show, visit reelinwithryan.com

Segunda entrega dedicada a recordar singles que llegaron a su puesto más alto en el Billboard Hot 100 de EEUU en enero de 1965. Arrancamos con una andanada de nombres de la invasión británica y seguimos con girl groups, bandas de garaje, voces del country y varias anomalías.(Foto del podcast por Gered Mankowitz; Marianne Faithfull, 1965)Playlist;(sintonía) THE WAIKIKIS “Hawaii tatoo” (top 33)THE SEARCHERS “Love potion number 9” (top 3)THE DAVE CLARK FIVE “Anyway you want it” (top 15)MARIANNE FAITHFULL “As tears go by” (top 22)THE ANIMALS “Boom boom” (top 43)MANFRED MANN “Sha la la” (top 12)THE HULLABALLOOS “I'm gonna love you too" (top 56)THE NOVAS “The Crusher” (top 88)THE YOU KNOW WHO GROUP “Roses are red my love” (top 43)DEL SHANNON “Keep Searchin' (We'll Follow The Sun)” (top 9)DICK AND DEE DEE “Thou shalt not steal” (top 13)THE SHANGRI-LAS “Give him a great big kiss” (top 18)THE DETERGENTS “Leader of the laundromat” (top 19)ROGER MILLER “Do wacka do” (top 31)GEORGE JONES “The race is on” (top 96)CHUCK BERRY “Promised land” (top 41)RONNY and THE DAYTONAS “Bucket T” (top 54)GARNET MIMMS “A Little bit of soap” (top 95)DEAN MARTIN “You’re nobody till somebody loves you” (top 21)LITTLE MILTON “Blind man” (top 86)Escuchar audio

National bacon day. Entertainment from 1999. Soviet Union formed, 1st color tv's went on sale, One of worst building fire's in US history in Chicago. Todays birthdays - Bo Diddley, Del Shannon, Michael Nesmith, Davy Jones, Jeff Lynne, Suzy Bogguss, Tracey Ullman, Tyrese Gibson. Dawn Wells died.Intro - Pour some sugar on me - Def Leppard       http://defleppard.com/I love bacon - The Hungry Food BandSmooth - Santana   Rob ThomasBreathe - Faith HillBirthdays - In da club - 50 Cent     http://50cent.com/Bo Diddley - Bo DiddleyRunaway - Del ShannonHey hey were the Monkees - The MonkeesDay dream believer - The MonkeesDon't bring me down - ELOHey Cinderella - Suzy BoggussThey don't know - Tracey UllmanHow you gonna act like that - TyreseExit - In my dreams - Dokken      http://dokken.net/

This Spotlight Show focuses on The Music & Legacy of Tom Petty and the Heartbreakers. Through the use of covers, deep tracks, guest appearances, influences, and explorations, we dig deeply into Petty's music and provide the listeners new experience with one of rock's great songwriters and performers. Catch all our Spotlight Shows  including John Hiatt, Johnny Winter, Johnny Cash, Jimi Hendrix, Stevie Ray Vaughan, The Everly Brothers, Hank Williams, Muddy Waters, Robert Johnson, Buddy Guy, Willie Dixon, Neil Young, The 27 Club, and more...Support our Show & get the word out by wearin' our gear Byrds & Beatles1. Tom Petty & the Heartbreakers (TPH) / The Last DJ2. Roger McGuinn w TPH / Eight Miles High3. Roger McGuinn w TPH / It Won't Be Wrong4. Tom Petty / I Need You (George Harrison/Beatles)5. TPH / The Man Who Loved Women1976 Debut AlbumThe Byrds & Cash Family6. Johnny Cash (Unchained) / Sea of Heartbreak7. Rosanne Cash / Home Town Blues  Duck Dunn, bass, Stax Records (You Tell Me)  Jim Gordon, drums Everly Brothers, Derek & the Dominoes,  8. Roger McGuinn / American Girl (1977 - not yet released by Tom Petty) 9. The Strokes / Last Night (American Girl Infringement)10. TPH / Blue Moon of Kentucky1978 You're Gonna Get ItTom & Tulsa: Leon Russell, Denny Cordell, JJ Cale, Phil Seymore & Dwight Twilley 6. Jason Isbell / You're Gonna Get It7. Marty Stuart / I Need to Know 8. Phil Seymour / Baby's a Rock n Roller 9. Eric Clapton & Tom Petty / I Got the Same Old Blues 1979 Damn the Torpedoes (Full Steam Ahead) 10. Bonnie Tyler / Louisiana Rain (1978)11. Wynonna Judd w/ Lainey Wilson / Refugee12. Matthew Sweet & Susannah Hoffs / Here Comes My Girl 13. Little Steven & the Disciples of Soul / Even the Losers Tom Petty & Del Shannon"Me and Del were singin', Little Runaway. I was flyin'14. The Traveling Wilburys / Runaway15. Larkin Poe / Running Down a Dream 16.  Del Shannon w/ TPH, George Harrison / Walk Away 17.  Don Henley (co-written with Michael Campbell) / Boy of Summer (Produced by Stan Lynch and Michael Campbell) Support our Show and get the word out by wearin' our gear

Brenda Lee, Del Shannon, Lulu, Communards, Yazoo, Soft Cell, Sam Cooke, Lindisfarne,  Golden Earring, The Swinging Blue Jeans, Tony Joe White, The Beach Boys and loads more on todays Show.

Hoy en la Gran Travesía viajamos hasta el año 1961, con los acontecimientos musicales más importantes, los mejores discos y las mejores canciones de ese año. En el programa podréis escuchar a Gene Vincent, Ben E. King, Chuck Berry, Bob Dylan, Elvis Presley, Platters, Ray Charles, Judy Garland, Jerry Lee Lewis, Del Shannon, Ella Fitzgerald, Harry Belafonte... y muchos más. También comentaros que desde hoy podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas, aquí tenéis el enlace https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html En el libro, Jimi McGuire y Janis Freebird vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, que son periodistas musicales, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del reguetón. ✨ El libro ya está en la web de NPQ Editores https://npqeditores.com/producto/la-gran-travesia-del-rock/ Ojo, tirada inicial muy limitada. Y el jueves 5 de diciembre, en el Casino de Cartagena, presentación oficial del libro y posterior fiesta de presentación en El escondite bar. ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC, Juan Carlos Ramírez, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Un clin d’oeil au magazine UGLY THINGS… Vous aurez donc compris qu’on va plonger dans les années 60 et 70 pour cet épisode maggotique, avec The Hollywood Brats et Azymuth pour démarrer, suivis des Cramps. On continue avec les Small Faces, Del Shannon, Love et Bloodshot Eyes. Puis un groupe Mod japonais, The Badge (merci […] L'article Maggot Brain – A Very Ugly Thing est apparu en premier sur Radio Campus Tours - 99.5 FM.

Golazo, le podcast de Sports.fr, vous raconte tout ce qu'il faut savoir sur la légende Johan Cruyff, l'un des meilleurs joueurs de l'histoire et entraîneur révolutionnaire. Il est le père du football moderne ! Sources: So Foot, Cherif Guemmour, pinte2foot.com Crédits sonores: Runaway de Del Shannon (de EasyPiano.cz sur YouTube) ; Twist And Shout Beatles, Revolution des Beatles (par Piano Superstar sur YouTube), Hymne du Barça par AmirHo3ein Piano sur YouTube, National Anthem of Catalonia, Come Together des Beatles (par mattiboo sur YouTube), Mi Gran Noche par Karaokemedia (sur YouTube).

This week's show: Maxïmo Park, Circle Jerks, Cliff & Ivy, Movieland, Humdrum, Idaho, and Sunstack Jones, plus Woody Guthrie, Del Shannon, Turtles, B.B. King, Dusty Springfield, Johnny Bond, and Louis Armstrong & Oscar Peterson; and R.I.P. Phil Lesh (19...

This tape pairs 2 stars from an earlier era struggling to find an audience in a market now overcrowded with beat groups dabbling in psychedelia. Join us to find out if the hippy kids were right to take a dim view of Rick's other side and turn down the invitation to Runaway with Del on his further adventures.

Send us a textBob and Lisa the driving force behind The BellRays stop by to talk about their musical journey, touring, and their latest album, Heavy Steady Go.***Bob and Lisa Kekaula made The BellRays happen in 1990 in Riverside, California but they weren't really thinking about any of this then. They wanted to play music and they wanted it to feel good. They wanted people to WANT to get up, to NEED to get up and check out what was going on. Form an opinion. React.So they took everything they knew about; the Beatles, Stevie Wonder, the Who, the Ramones Billie Holiday, Lou Rawls, Hank Williams, the DB's, Jimmy Reed, and Led Zeppelin (to name a very few to whom “BLUES IS THE TEACHER”) and pressed it into service.Those bands and artists have since become “buzz words”, things to imitate and sound like. That was never The BellRays intention. The BellRays were never about coming up with a “sound”, or fitting in with a scene. It was about the energy that made all that music so irresistible. The BellRays' influences learned from the Blues and then learned how to make it their own. The Beatles wanted to play R&B, converted that energy, and invented “Rubber Soul”. The Ramones were trying to be Del Shannon or Neil Sedaka and out came “Rocket to Russia”.It's an organic trail that flows through Bob and Lisa and the current rhythm section of Pablo Rodas (Lisa and the Lips, Alber Solo) on bass and Craig Waters (Countdowns, Andre Williams, Cody Chestnut) on drums, and comes out honest and urgent. You will learn and you will feel. Blues is always teaching and Punk is always preaching.For more information go to their website: https://thebellrays.com/****If you would like to contact the show about being a guest please email us at Dauna@bettertopodcast.comThis episode is on YouTube:https://youtu.be/19BYiRDY42E Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomHave a question or want to be a guest on the podcast email: dauna@bettertopodcast.comAudio production by Rich Zei of Third Ear AudioIntro and Outro music compliments of Fast SuziUpcoming guests: https://www.dmneedom.com/better-topodcast©2024 Better To...Podcast with D. M.NeedomSupport the showSupport the show

Seleccionamos canciones que alcanzaron su puesto más alto en el Billboard Hot 100 en octubre de 1964. En este mes de hace 60 años los ingleses Manfred Mann consiguen un número 1. Pero es la escudería Motown la que saca pecho frente la invasión británica y coloca un buen puñado de bandas en la zona alta de las listas, con mención especial para The Supremes que comenzaban a consolidar su reinado de éxitos.(Foto del podcast; The Temptations)Playlist;(sintonía) BILLY STRANGE “The James Bond heme” (top 58)MANFRED MANN “Do wah diddy diddy” (top 1)THE SUPREMES “Baby love” (top 1)MARTHA and THE VANDELLAS “Dancing in the street” (top 2)FOUR TOPS “Baby I need your lovin” (top 11)THE TEMPTATIONS “Girl (why you wanna make me blue)” (top 26)SANDY NELSON “Teen beat 65” (top 44)THE BEACH BOYS “When I grow up to be a man” (top 9)THE HONDELLS “Little Honda” (top 9)JAN and DEAN “Ride the wild surf” (top 16)WILLIE MITCHELL “20-75” (top 31)THE BLENDELLS “La la la la la” (top 62)CHAD and JEREMY “A summer song” (top 7)THE BEATLES “Matchbox” (top 17)BILLYJ KRAMER and THE DAKOTAS “From a window” (top 23)DON COVAY and THE GOODTIMERS “Mercy mercy” (top 35)THE IMPRESSIONS “You must belive me” (top 15)THE KINGSMEN “Death of an angel” (top 42)DEL SHANNON “Do you want to dance” (top 43)THE JELLY BEANS “Baby be mine” (top 51)Escuchar audio

"She would never say where she came fromYesterday don't matter if it's goneWhile the sun is brightOr in the darkest nightNo one knows, she comes and goesGoodbye, Ruby Tuesday"But say hello to Opal Saturday on Whole 'Nuther Thing on KXFM 104.7. Joining us are Patti Smith, Bruce Springsteen, The B52's, Oasis, Del Shannon, Dada, Paul Weller, Joe Walsh, Peter Paul & Mary, Grand Funk Railroad, Spencer Davis Group, Jackson Browne, Steppenwolf, Jefferson, Starship, Billy Stewart, The Beach Boys, Ray LaMontagne, The Mamas & The Papas, Buckinghams, Spanky & Our Gang, Billy Joel, Bob Dylan and John Batdorf w James Lee Stanley

Segunda entrega de canciones que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU en el mes de agosto de hace 60 años. Voces del Deep soul procedentes de Memphis, Nueva Orleans o Muscle Shoals, bandas de frat rock, pioneros de los años 50, country o los últimos coletazos del surf conviven en las listas de éxitos.(Foto del podcast; Irma Thomas)Playlist;(sintonía) BOOKER T. and THE MG’S “Soul dressing” (top 95)CARLA THOMAS “I’ve got no time to lose” (top 67)IRMA THOMAS “Anyone who knows what love is (will understand)” (top 52)JIMMY HUGHES “Steal away” (top 17)SOLOMON BURKE “Everybody needs somebody to love” (top 58)JAN and DEAN “Little old lady (from Passadena)” (top 3)BRUCE and TERRY “Summer means fun” (top 72)BOBBY FREEMAN “C’mon and swim” (top 5)THE PREMIERS “Farmer John” (top 19)THE KINGSMEN “Little latin Lupe Lu” (top 46)THE CHARTBUSTERS “She’s the one” (top 33)LULU and THE LUVVERS “Shout” (top 94)LITTLE RICHARD “Bama Lama bama Loo” (top 82)ELVIS PRESLEY with THE JORDANAIRES “Such a night” (top 16)JACKIE WILSON “Squeeze her-tease her (but love her)” (top 89)DEL SHANNON “Handy man” (top 22)AL (HE’S THE KING) HIRT “Sugar lips” (top 30)RUBY and THE ROMANTICS “Baby come home” (top 75)ROGER MILLER “Dang me” (top 7)RAY CHARLES “No one to cry to” (top 55)Escuchar audio

"In the clearing stands a boxer and a fighter by his tradeAnd he carries the reminders of every glove that laid him downOR cut him 'til he cried out in his anger and his shame"I am leaving, I am leaving"but the fighter still remainsLie-la-lie..."Not looking for a fight? Join me on the Red Eye Edition of Whole 'Nuther Thing, joining us are Patti Smith, Rhinoceros,Traffic, Bruce Springsteen, Boz Scaggs, George Harrison, Elton John, The Rolling Stones, Buffalo Springfield, Del Shannon, Bob Dylan, The Charlie Daniels Band, Traveling Wilbury's, Buzzy Linhart, Country Joe & The Fish, Al Kooper, Electric Flag, Blood Sweat & Tears, The Guess Who, Eagles,and Simon & Garfunkel...

Across the country, new weather extremes are testing aging dams. According to the federal government's most recent climate assessment, the number of extreme precipitation days in the Midwest has increased 45 percent since the 1950s. Del Shannon, former president of the United States Society on Dams, joins John Yang to discuss. PBS News is supported by - https://www.pbs.org/newshour/about/funders

"He bought her a diamond for her throatHe put her in a ranch house on a hillShe could see the valley barbecues From her window sillSee the blue pools in the squinting sunHear the hissing of summer lawns"Let's listen  to the Hissing Of The Summer Lawns together on this first Saturday of Summer. Joining us are Haim, T. Rex, Tears For Fears, Bob Dylan, Supertramp, John Klemmer, Johnny Rivers, Dire Straits, Rupert Holmes, NRBQ, The Cars,, Hollies, Bee Gees, Ten Years After, Mr. Mister, The Smiths, Tom Petty, Rockpile, Del Shannon, Gordon Lightfoot, Sublime, Lou Reed, The B52's, Jeff Beck, Chuck Berry and Joni Mitchell...

"He bought her a diamond for her throatHe put her in a ranch house on a hillShe could see the valley barbecues From her window sillSee the blue pools in the squinting sunHear the hissing of summer lawns"Let's listen  to the Hissing Of The Summer Lawns together on this first Saturday of Summer. Joining us are Haim, T. Rex, Tears For Fears, Bob Dylan, Supertramp, John Klemmer, Johnny Rivers, Dire Straits, Rupert Holmes, NRBQ, The Cars,, Hollies, Bee Gees, Ten Years After, Mr. Mister, The Smiths, Tom Petty, Rockpile, Del Shannon, Gordon Lightfoot, Sublime, Lou Reed, The B52's, Jeff Beck, Chuck Berry and Joni Mitchell...

SingerSongwriterGuitarist Robert LaRoche, began performing professionally at age 15.Originally from Holyoke, Massachusetts, LaRoche formed Power Pop sensations The Sighs in 1982.After 10 years of touring the collegeclub circuit of New England, the Sighs were signed to Virgin Records and released their debut cd “What Goes On” in 1992.The disc received fantastic reviews and the single “Think About Soul” was a staple on “Modern Rock” radio charts throughout the Summer of 1992.The band toured America extensively with such acts as The Spin Doctors and The Gin Blossoms.Their second release “Different” was released in 1995 on NYC indie label Big Deal Records.The band disbanded in 1996 and LaRoche moved on to his next career as lead guitarist and co-writer for Austin, Texas singer Patricia Vonne.Miss Vonne has released seven critically acclaimed cd's on the independent label Bandolera Records, and has toured Europe numerous times where they have built a loyal and ever growing fan base.LaRoche and Vonne have also performed at the prestigious Montreux Jazz Festival in 2013, where they were awarded the critics pick for “Best Live Performance”In September of 2015, Robert released his solo debut cd entitled “Patient Man”.Recorded in Austin, Texas with producer Darin Murphy, the eleven track disc sparkles with gorgeous Everly Brother style harmonies and a finely tuned pop sensibility.LaRoche's song craft is based firmly in American roots music.Influenced by Buddy Holly, Del Shannon, and the aforementioned Everly Brothers, each track on LaRoche's “Patient Man” is filled with endlessly memorable hooks, bathed in a warm and honest production.The Sighs regrouped in the Summer Of 2016 to record for the first time in two decades. The subsequent release Wait On Another Day came out on NYC indie label Omad Records In November 2017. The disc received glowing reviews internationally.In July 2019, Austin singer-songwriter LaRoche released “A Thousand Shades”. This six song EP is bursting with irresistible hooks and LaRoche's signature harmonies and mesmerizing vocals. Backed by many of Austin's top Musicians, “A Thousand Shades” takes the listener on a journey of love and heartbreak, with a silver lining of redemption.In September 2023, LaRoche will released his new 10 song Cd “Forevermore” Produced by Oscar winning songwriter John DeNicola. https://robertlarochemusic.com

In this episode, WGA Screenwriter Gary Gurner joins me for an interview about the screenplay on the music legend Del Shannon. We also talk about the updated progress on the screenplay, and the upcoming Del Shannon Weekend in Battle Creek on June 28-30th, 2024. For tickets to the Del Shannon Tribute Concert on June 28th: https://events.humanitix.com/delshannonshow For a sneak peak of the new screenplay on Del Shannon, visit: https://garysgurner.com For links to all the events on Del Shannon weekend, visit: https://BCRHM.org Or follow the page on Facebook here. --- Send in a voice message: https://podcasters.spotify.com/pod/show/talesofsouthwestmipast/message

-It's Sip's time to shine…what advice does he have for Breakers on how to age gracefully?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Runaway" ~ Del Shannon (1961)Show sponsored by GANA TRUCKINGAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Renegade scholar Randall Carlson joined guest host Richard Syrett (Twitter) to discuss the concept of the Great Year, which is rooted in the idea of cyclical time found in many ancient cultures, contrasting with the linear perception of time in modern Judeo-Christian traditions. Carlson presented the notion that the Great Year is approximately 26,000 years long, based on the processional cycle, which modern science corroborates through findings such as ice core analysis. By examining oxygen isotopes in ice cores and marine sediments, researchers can infer past climate conditions, revealing a correlation between ancient and modern data on environmental changes, he explained.Carlson delved into the mechanics of the processional cycle, describing how the Earth's axial motion causes the position of the North Pole to change over time. This motion influences the vernal equinox's position against the backdrop of the stars, leading to shifts in the zodiacal ages. Carlson revealed that these changes occur gradually, with each zodiacal age lasting approximately 2,160 years. This astronomical phenomenon, although imperceptible within a single human lifetime, has profound implications for ancient cosmology and mythology.Carlson cited ancient texts, such as Plato's Timaeus, to illustrate the recurrence of cataclysmic events like floods and fires throughout history. He suggested these events, which could be caused by phenomena like asteroid impacts or volcanic eruptions, contribute to the cyclical nature of civilization's rise and fall. By interpreting myths and traditions from various cultures, Carlson emphasized the importance of integrating ancient cosmological knowledge with modern scientific understanding to grasp the broader context of humanity's place within the cosmos.The Beatles' ImpactIn the first hour, music journalist Harvey Kubernik reflected on the cultural impact of The Beatles and their influence on shaping the music scene of the time. He discussed the significance of Ed Sullivan's platform in introducing new musical acts to the public and acknowledged the collaborative efforts between Sullivan, The Beatles' manager Brian Epstein, and Capitol Records in promoting the band. Kubernik touched on the broader influence of The Beatles on media platforms, the role of Canada in supporting their rise, and the potential impact of historical events like the Kennedy assassination on the band's success. He also mentioned his ongoing projects, including a documentary on Del Shannon and the legendary Gold Star Recording Studios. --- Send in a voice message: https://podcasters.spotify.com/pod/show/georgenoory/message

Renegade scholar Randall Carlson joined guest host Richard Syrett (Twitter) to discuss the concept of the Great Year, which is rooted in the idea of cyclical time found in many ancient cultures, contrasting with the linear perception of time in modern Judeo-Christian traditions. Carlson presented the notion that the Great Year is approximately 26,000 years long, based on the processional cycle, which modern science corroborates through findings such as ice core analysis. By examining oxygen isotopes in ice cores and marine sediments, researchers can infer past climate conditions, revealing a correlation between ancient and modern data on environmental changes, he explained.Carlson delved into the mechanics of the processional cycle, describing how the Earth's axial motion causes the position of the North Pole to change over time. This motion influences the vernal equinox's position against the backdrop of the stars, leading to shifts in the zodiacal ages. Carlson revealed that these changes occur gradually, with each zodiacal age lasting approximately 2,160 years. This astronomical phenomenon, although imperceptible within a single human lifetime, has profound implications for ancient cosmology and mythology.Carlson cited ancient texts, such as Plato's Timaeus, to illustrate the recurrence of cataclysmic events like floods and fires throughout history. He suggested these events, which could be caused by phenomena like asteroid impacts or volcanic eruptions, contribute to the cyclical nature of civilization's rise and fall. By interpreting myths and traditions from various cultures, Carlson emphasized the importance of integrating ancient cosmological knowledge with modern scientific understanding to grasp the broader context of humanity's place within the cosmos.The Beatles' ImpactIn the first hour, music journalist Harvey Kubernik reflected on the cultural impact of The Beatles and their influence on shaping the music scene of the time. He discussed the significance of Ed Sullivan's platform in introducing new musical acts to the public and acknowledged the collaborative efforts between Sullivan, The Beatles' manager Brian Epstein, and Capitol Records in promoting the band. Kubernik touched on the broader influence of The Beatles on media platforms, the role of Canada in supporting their rise, and the potential impact of historical events like the Kennedy assassination on the band's success. He also mentioned his ongoing projects, including a documentary on Del Shannon and the legendary Gold Star Recording Studios. --- Send in a voice message: https://podcasters.spotify.com/pod/show/georgenoory/message

Renegade scholar Randall Carlson joined guest host Richard Syrett (Twitter) to discuss the concept of the Great Year, which is rooted in the idea of cyclical time found in many ancient cultures, contrasting with the linear perception of time in modern Judeo-Christian traditions. Carlson presented the notion that the Great Year is approximately 26,000 years long, based on the processional cycle, which modern science corroborates through findings such as ice core analysis. By examining oxygen isotopes in ice cores and marine sediments, researchers can infer past climate conditions, revealing a correlation between ancient and modern data on environmental changes, he explained.Carlson delved into the mechanics of the processional cycle, describing how the Earth's axial motion causes the position of the North Pole to change over time. This motion influences the vernal equinox's position against the backdrop of the stars, leading to shifts in the zodiacal ages. Carlson revealed that these changes occur gradually, with each zodiacal age lasting approximately 2,160 years. This astronomical phenomenon, although imperceptible within a single human lifetime, has profound implications for ancient cosmology and mythology.Carlson cited ancient texts, such as Plato's Timaeus, to illustrate the recurrence of cataclysmic events like floods and fires throughout history. He suggested these events, which could be caused by phenomena like asteroid impacts or volcanic eruptions, contribute to the cyclical nature of civilization's rise and fall. By interpreting myths and traditions from various cultures, Carlson emphasized the importance of integrating ancient cosmological knowledge with modern scientific understanding to grasp the broader context of humanity's place within the cosmos.The Beatles' ImpactIn the first hour, music journalist Harvey Kubernik reflected on the cultural impact of The Beatles and their influence on shaping the music scene of the time. He discussed the significance of Ed Sullivan's platform in introducing new musical acts to the public and acknowledged the collaborative efforts between Sullivan, The Beatles' manager Brian Epstein, and Capitol Records in promoting the band. Kubernik touched on the broader influence of The Beatles on media platforms, the role of Canada in supporting their rise, and the potential impact of historical events like the Kennedy assassination on the band's success. He also mentioned his ongoing projects, including a documentary on Del Shannon and the legendary Gold Star Recording Studios. --- Send in a voice message: https://podcasters.spotify.com/pod/show/georgenoory/message

Renegade scholar Randall Carlson joined guest host Richard Syrett (Twitter) to discuss the concept of the Great Year, which is rooted in the idea of cyclical time found in many ancient cultures, contrasting with the linear perception of time in modern Judeo-Christian traditions. Carlson presented the notion that the Great Year is approximately 26,000 years long, based on the processional cycle, which modern science corroborates through findings such as ice core analysis. By examining oxygen isotopes in ice cores and marine sediments, researchers can infer past climate conditions, revealing a correlation between ancient and modern data on environmental changes, he explained.Carlson delved into the mechanics of the processional cycle, describing how the Earth's axial motion causes the position of the North Pole to change over time. This motion influences the vernal equinox's position against the backdrop of the stars, leading to shifts in the zodiacal ages. Carlson revealed that these changes occur gradually, with each zodiacal age lasting approximately 2,160 years. This astronomical phenomenon, although imperceptible within a single human lifetime, has profound implications for ancient cosmology and mythology.Carlson cited ancient texts, such as Plato's Timaeus, to illustrate the recurrence of cataclysmic events like floods and fires throughout history. He suggested these events, which could be caused by phenomena like asteroid impacts or volcanic eruptions, contribute to the cyclical nature of civilization's rise and fall. By interpreting myths and traditions from various cultures, Carlson emphasized the importance of integrating ancient cosmological knowledge with modern scientific understanding to grasp the broader context of humanity's place within the cosmos.The Beatles' ImpactIn the first hour, music journalist Harvey Kubernik reflected on the cultural impact of The Beatles and their influence on shaping the music scene of the time. He discussed the significance of Ed Sullivan's platform in introducing new musical acts to the public and acknowledged the collaborative efforts between Sullivan, The Beatles' manager Brian Epstein, and Capitol Records in promoting the band. Kubernik touched on the broader influence of The Beatles on media platforms, the role of Canada in supporting their rise, and the potential impact of historical events like the Kennedy assassination on the band's success. He also mentioned his ongoing projects, including a documentary on Del Shannon and the legendary Gold Star Recording Studios. --- Send in a voice message: https://podcasters.spotify.com/pod/show/georgenoory/message

National kite flying day. Entertainment from 2002. Dynamite used for 1st time in mining, banjo clock invented, Dallas Texans become Kansas City Chiefs, 1st banana republic. Todays birhdays - Jules Verne, Lana Turner, Audrey Meadows, Jack Lemmon, Nick Nolte, Dan Seals, Mary Steenburgen, Vince Neil, Gary Coleman, Seth Green. Del Shannon died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Lets go fly a kite - Mary PoppinsU got it bad - UsherGood morning beautiful - Steve HolyBirthdays - In da club - 50 Cent http://50cent.com/Honeymooners TV themeBop - Dan SealsYour invited, but your friend can't come - Vince NeilRunaway - Del ShannonExit - Its not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/

THE ARWEN LEWIS SHOW - Today Arwen welcomes Robert LaRoche Robert began performing professionally at age 15. Originally from Holyoke, Massachusetts, LaRoche formed Power Pop sensations The Sighs in 1982. After 10 years of touring the college club circuit of New England, the Sighs were signed to Virgin Records and released their debut CD “What Goes On” in 1992. The disc received fantastic reviews and the single “Think About Soul” was a staple on “Modern Rock” radio charts throughout the Summer of 1992. The band toured America extensively with such acts as The Spin Doctors and The Gin Blossoms. The band disbanded in 1996 and LaRoche moved on to his next career as lead guitarist and co-writer for Austin, Texas singer Patricia Vonne. Miss Vonne has released seven critically acclaimed CDs on the independent label Bandolera Records and has toured Europe numerous times where they have built a loyal and ever-growing fan base. LaRoche and Vonne also performed at the prestigious Montreux Jazz Festival in 2013, where they were awarded the critic's pick for “Best Live Performance” LaRoche's song craft is based firmly on American roots music. Influenced by Buddy Holly, Del Shannon, and the aforementioned Everly Brothers, each track on LaRoche's “Patient Man” is filled with endlessly memorable hooks, bathed in a warm and honest production. The Sighs regrouped in the Summer Of 2016 to record for the first time in two decades. The subsequent release Wait On Another Day came out on NYC indie label Omad Records In November 2017. The disc received glowing reviews internationally. In July 2019, Austin singer-songwriter LaRoche released “A Thousand Shades”. This six-song EP is bursting with irresistible hooks and LaRoche's signature harmonies and mesmerizing vocals. Backed by many of Austin's top Musicians, “A Thousand Shades” takes the listener on a journey of love and heartbreak, with a silver lining of redemption. In September 2023, LaRoche will release his new 10-song CD “Forevermore” Produced by Oscar-winning songwriter John DeNicola. For more information, please visit: www.robertlarochemusic.com The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

The Nightfly is the debut solo album from Donald Fagen.  Fagen and his Steely Dan partner Walter Becker had released the Gaucho album in late 1980, and Becker was having a lot of trouble.  His girlfriend died of a drug overdose in their apartment, and he was sued for several million dollars.  Shortly after that he was hit by a taxi, which shattered his leg.  Steely Dan disbanded in 1981, and Becker moved to Maui.  Fagen wanted “The Nightfly” to be autobiographical, and without the irony and biting nature of Steely Dan.  There is a lot of adolescence and innocence in these songs, reflecting back on Fagen's time growing up.  The album is also one of the first to be recorded entirely in digital.  Steely Dan had tried this approach fo“Gaucho,” but it didn't work out and they reverted to analog.  Audiophiles gravitate to The Nightfly, and EQ Magazine ranks it as one of the top 10 Best Recorded Albums of All Time, up there with The Beatles' “Sergeant Peppers” and The Beach Boys' “Pet Sounds.”Donald Fagan had problems with depression after recording “The Nightfly,” and largely disappeared from the music scene through the rest of the 80's.  Fagan said in 2006 that he hasn't listened to "The Nightfly" since making it.  However, he did record two other albums which are considered to form "The Nightfly Trilogy," including Kamakiriad" from 1993 and "Morph the Cat" from 2006.  There would also be a reunion of Steely Dan later on.Bruce presents this jazzy album for this week's episode. I.G.Y. (What a Beautiful World)This lead single is also the track that leads off the album.  "I.G.Y." stands for International Geophysical Year, which was a project that lasted between July 1957 and December 1958.  It encompassed eleven earth science projects and included collaboration between East and West.  The song reflects the positivity of that time and collaboration.  The song was released in September 1982 and reached number 26 on the Billboard Hot 100 at the end of November.The NightflyThis track imagines a late night DJ named Lester who plays jazz on WJAZ out of Baton Rouge, and also takes calls from conspiracy theorists.  is about a spiritual quest.  While not released as a single, this song did receive some airplay on FM stations in the 80's.Ruby BabyAlthough heavily arranged with close harmonies by Fagen, this is a cover song originally performed by the Drifters in 1956.  A number of artists have covered it over time, including Dion (number 2 on the Billboard Hot 100 in 1962), Billy "Crash Craddock, Del Shannon, Mitch Ryder, and Bobby Darin.New FrontierThis fun single did not break into the top 40, but it was a frequent video on the then-new MTV channel.  The idea of the song is that an adolescent boy is bringing a girl over to his parents' bomb shelter for a good time.  "Yes, we're going to have a wing ding..." ENTERTAINMENT TRACK:It Might Be You by Stephen Bishop (from the motion picture "Tootsie" )Dustin Hoffman stars in this cross-dressing romance comedy about an actor disguising himself as a woman to land a job. STAFF PICKS:Steppin' Out by Joe JacksonRob starts the staff picks with a song inspired by Jackson's time in New York City.  The song reflects the excitement of a drive around town, and hit number 6 on the Billboard Hot 100.  It is off the album "Night and Day," which reflects New York City during the day on side 1, and the City during the night on side 2.Mexican Radio by Wall of VoodooWayne's staff pick is a weird one.  This new wave act describes listening to the broadcasts of high-wattage unregulated Mexican radio stations whose signals were strong enough to be picked up in small town U.S.A.  Wall of Voodoo's $15,000 video would be on constant repeat on MTV.Maneater by Hall & Oates Lynch brings us a big Hall & Oates hit that spent four weeks at number 1 on the charts.  The song describes a woman who is bad news, only looking for money.  The video features a live panther, that got loose in the rafters of the set at one point, prompting a hasty retreat from Darryl Hall.   The sax part is played by Charles "Mr. Casual" DeChant, who also appears in the video during his solo.She Sheila by The ProducersBruce finishes up the staff picks with Atlanta's own The Producers.  This is the big single off the band's second album "You Make the Heat."  It went to number 48 on the Billboard Mainstream Rock charts, and alternates between an ethereal synth part and a high energy New Wave sound. INSTRUMENTAL TRACK:Bonzo's Montreux by Led ZeppelinJohn Bonham's live drum solo closes out this week's podcast.

The Billboard charts for June 1963. VeeJay is pushing "From Me To You" in the papers, and Del Shannon brings his cover into the world. All this and more.

Born Charles Westover in Grand Rapids, Michigan, in 1934, the singer-songwriter known as Del Shannon dies by suicide on February 8, 1990. In a period when the American pop charts were dominated by cookie-cutter teen idols and novelty acts, he stood out as an all-too-rare example of an American pop star whose work reflected real originality. His heyday as a chart-friendly star in the United States may have been brief, but on the strength of his biggest hit alone he deserves to be regarded as one of rock and roll's greatest.Legend has it that while on stage one night at the Hi-Lo Lounge in Battle Creek, Michigan, in 1960, the young and unknown Del Shannon stopped his band mid-song to have his organ player repeat, over and over, an unusual chord sequence he had just ad-libbed: A-minor to G. Charlie went to work the next day in his job as a carpet salesman with those chords stuck in his mind, and by the time he took the stage that night, he'd written a song called “Little Runaway” around them—(A-minor) As I walk along I (G) wonder, what went wrong…”. It would be three more months before Shannon and his band could make it to a New York recording studio to record the song that Shannon now saw as his best, and possibly last, shot at stardom. As he told Billboard magazine years later, “I just said to myself, if this record isn't a hit, I'm going back into the carpet business.” Del Shannon sold his last carpet a few months later, as “Runaway” roared up the pop charts on its way to #1 in April 1961.“Hats Off To Larry” and “Keep Searchin' (We'll Follow The Sun)” were Shannon's only other top-10 hits in the United States, but he enjoyed a much bigger career in the UK, where he placed five more songs in the top 10 over the next two years. Like most stars of his generation, Shannon was primarily regarded as an Oldies act through the '70s and '80s, but he was in the midst of a concerted comeback effort in early 1990, with a Jeff Lynne-produced album of original material already completed and rumors swirling of his taking the late Roy Orbison's place in The Traveling Wilburys. This only added to the shock experienced by many when Shannon shot himself in his Santa Clarita, California, home on February 8, 1990. Shannon's widow would later file a high-profile lawsuit against Eli Lilly, the manufacturer of the antidepressant Prozac, which Shannon had begun taking shortly before his suicide. That suit was eventually dropped, but the case brought early attention to the still-unresolved question of the possible connection between suicidal ideation and SSRIs, the class of drugs to which Prozac belongs.

Hear Andrew Himmler of The Delta Bombers talk about Dick Dale as well as describing The Delta Bombers sound in our Green Room segment (including tunes from both of them). Beth Riley has a deep track by The Beach Boys (covering Del Shannon) in her Surf's Up: Beth's Beach Boys Break.  We hear a track from The Challengers from an album celebrating it's 60th anniversary this year in our Good Time Segment and of course we'll drop a coin in the Jammin' James Jukebox to hear our selection of the week (Frank Stallone and it's produced by Harry Nilsson who also does harmony vocals and arranged by Van Dyke Parks!!!). Plus, we've got rockers from The Dirty Licks, The Monkees, Raul Malo, Messer Chups, The Desolate Coast, Satanic Puppeteer Orchestra, Wahyay, Los Manolitos, Rufus Lee King & The Dream, The Atom Jacks and Televisionaries!   Intro music bed: "Catch A Wave"- The Beach Boys   The Desolate Coast- "Save A Horse, Ride A Surfboard" The Dirty Licks- "Masters Of The Electrical Internet" The Atom Jacks- "Oppenheimer Surf" The Monkees- "Gotta Give It Time" Televisionaries- "You Can Do What You Want To Do"   "Good Time" segment: The Challengers 60th Anniversary of The Challengers On The Move (Surfing Around The World (1963) The Challengers- "Hava Nagila"   Los Manolitos- "Run Chicken Run" Raul Malo- "Solitary Blues"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Runaway" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Wahyay- "Surf Music For People Who Don't Get In The Water" Satanic Puppeteer Orchestra- "Like and Subscribe" Messer Chups- "Intox-Tika" *   Green Room segment: Andrew Himmler on Dick Dale and describes The Delta Bombers sound The Delta Bombers- "Hit The Floor" Dick Dale- "The Eliminator"   Jammin' James Jukebox selection of the week: Frank Stallone- "Sea Song"   Rufus Lee King & The Dream- "Motorcycle Louie"   Outro Music Bed: Link Wray- "Deuces Wild"   *appearing at Surf Guitar 101 Convention: https://sg101convention.com/

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