Podcasts about Dillards

The Sundilla Radio Hour for the week of 05/12/2025 featuring: Tiffany Williams “When You Go” When You Go (2019 Tiffany Williams) 4:56 Joy Oladokun “Nazareth (Live)” Single (2025 White Boy) 4:25 Julian Taylor “100 Proof” Beyond the Reservoir (2022 Howling Turtle) 3:57 Louise Coombe “Nameless Lady” Paris (2025 Louise Coombe) 3:08 The Dillards “Don't Hit Your Gramma with a Great Big Stick” Songs that Made Charlene Cry (2025 The Dillards) 1:43 Low Lily “Good, Bad, Better” 10,000 Days Like These (2018 Mad River) 3:26 Donal Hinely “When We Meet Again” Everything Must Go (2024 Donal Hinely) 2:42 Minor Gold “Cannonball” Minor Gold (2023 Minor Gold) 3:35 The Rough & Tumble “You Get What You Get” Hymns For My Atheist Sister & Her Friends To Sing Along To (2024 Penny Jar) 4:00 Vashti Bunyan “Train Song” Some Things Just Stick In Your Mind (Singles and Demos 1964 to 1967) (2007 DiCristina) 2:17 Jake Blount “Where Did You Sleep Last Night” Spider Tales (2020 Jake Blount) 3:56 Dawn Landes “The Housewife's Lament (1866)” The Liberated Woman's Songbook (2024 FunMachine) 5:32 Grayson Capps “Moody River” Heartbreak, Misery & Death (2024 Royal Potato Family) 2:29 Maya de Vitry & Ethan Jodziewicz “April in Your Eyes” April in Your Eyes: A Tribute to the Songs of John Lilly (2021 Diamond Ranch) 2:30

A recording from the live panel in Charlotte, NC with Dillards Coterie Shop brands including; Buru, Crosby by Mollie Burch, Abbey Glass, Mo Maya and Damaris Bailey.

Boucheron Pour Homme by Boucheron (1991) + David Jacobs' Knots Landing season 11 (1989-90) + Paul Krasny's Terror Among Us (1981) with The Eternal Dillards of Ghost Jail 2/21/25 S7E10 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Esta semana, en Islas de Robinson, Americana cósmica entre 1969 y 1971. Suenan: POCO - "JUST IN CASE IT HAPPENS, YES INDEED" ("PICKIN' UP THE PIECES", 1969) / FLYING BURRITO BROTHERS - "WHEELS" ("GILDED PALACE OF SIN", 1969) / MICHAEL NESMITH & THE FIRST NATIONAL BAND - "THE CRIPPLED LION" ("MAGNETIC SOUTH", 1970) / JERRY JEFF WALKER - "SHELL GAME" ("DRIFTIN' WAY OF LIFE", 1969) / DILLARD & CLARK - "POLLY" ("THROUGH THE MORNING, THROUGH THE NIGHT", 1969) / THE DILLARDS - "PICTURES" ("COPPERFIELDS", 1970) / THE YOUNGBLOODS - "CIRCUS FACE" ("GOOD AND DUSTY", 1971) / LITTLE FEAT - "I'VE BEEN THE ONE" ("LITTLE FEAT", 1971) / WILLIAM TRUCKAWAY - "BREAKWAY" ("BREAKWAY", 1971) / THE BYRDS - "YESTERDAY'S TRAIN" ("UNTITLED", 1970) / NEW RIDERS OF THE PURPLE SAGE - "ALL I'VE EVER WANTED" ("N.R.P.S.", 1971) / GRATEFUL DEAD - "RIPPLE" ("AMERICAN BEAUTY", 1970) / MATTHEWS' SOUTHERN COMFORT - "WHAT WE SAY" ("MATTHEWS' SOUTHERN COMFORT", 1970) / FAIRPORT CONVENTION - "THE DESERTER" ("LIEGE & LIEFE", 1969) /Escuchar audio

Boucheron by Boucheron (1988) + David Jacobs' Knots Landing season 10 (1988-89) + George McCowan's Frogs (1972) with The Eternal Dillards of Ghost Jail 11/22/24 S6E88 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Sarah Potempa, celebrity hairstylist and co-founder of The Beachwaver, is a live-selling expert. It all started in 2012 when she launched her first product, the original Beachwaver rotating curling iron, live on QVC. “It was wild because they said, ‘Don't get too excited — you might get four or five shows in your first year.' … And then I was on QVC over 50 times my first year,” she told Glossy.  She thrived in the medium and was able to reach a growing number of consumers looking for an easier way to create beachy waves at home. She sold out frequently, became a viewer favorite and was asked to return time after time.  Unlike traditional curling irons and waving wands, The Beachwaver allows the user to clamp the end of a section of hair in place before pressing a button to wrap the section of hair around the electric iron. This avoids an unintended arm workout and the likelihood of burnt fingers, both common with the then-popular waving wands. Although she was already a well-known celebrity hairstylist and a regular in beauty publications for her styling advice, Potempa's ability to connect with viewers while live-selling forever shifted the trajectory of her career.  Potempa has since launched more than 100 SKUs — including a variety of hot tools, hair care and accessories — and has sold more than 2 million Beachwaver irons, which retail for $99 and up. Her line is available at Ulta Beauty, Walmart, Target, Anthropologie and Dillards, among other retailers. Today, she uses the skills she learned on QVC to be a leader in social media-based live-selling, often going live for hours at a time on TikTok, Amazon, Beachwaver's own DTC site and anywhere else experimenting with the medium. This has translated to massive success on TikTok: As of October of 2024, she's sold more than 1.1 million units on TikTokShop, making her one of the most prolific sellers on the platform.  Beachwaver is an independently held family business co-founded with Potepa's two sisters, Erin and Emily, and her extended family regularly appears in the company's many TikTok content franchises, which she calls “shows”. Her team and family stream from Beachwaver's Illinois warehouse and offices, and this month she opened a second office and content studio in New York City.  Potempa joins the Glossy Beauty Podcast to discuss the nuances of live-selling and the benefits of an in-house content studio.

Send us a Text Message.Welcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Evolve by Phish (2024)Song 1: My Soul by Clifton Chenier (1959)Song 2: Heaven by Los Lonely Boys (2004)Song 3: Frankenstein by Edgar Winter Group (1972)Song 4: Brokenhearted by Karmin (2012)Song 5: Old Home Place by The Dillards (1963)Song 6: Love Me Dead by Ludo (2007)Song 7: Sneakin' Sally Through the Alley by Lee Dorsey (1970)Song 8: Boombastic by Shaggy (1995)Song 9: When the Circus Comes by Los Lobos (1992)Song 10: Paper Doll by The Mills Brothers (1948)

Myths Woman by Amouage (2016) + David Jacobs's Knots Landing season 9 (1987-88) + Ingmar Bergman's Persona (1966) with The Eternal Dillards of Ghost Jail 7/28/24 S6E51 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

I'm delighted to be delving into my CD's again, and I think I've come up with some gems for you. Great bluegrass from the likes of JD Crowe, The Dillards, Sawmill Road, Kenny & Amanda Smith, Sister Sadie and Joe Mullins; a new original opening track from me with Jean-Luc Leroux, and a track from Cliff Waldron that didn't make it into last week's show.

This podcast is directed to the home owner & home buyer.Our hosts Patty Wilson & Scott Cowart chat 2020 Trends. The hot color right now is pink... Can you believe it?Bedding choices, (Scott likes Ralph Lauren & the clearance rack at Dillards ) how to make a bath look bigger & brighter!Why we bring in our stuff to sell your house!Patty's Playhouse, we talk about real estate and life in the small southern town.The conversations are consumer driven inviting entrepreneurs, real estate professionals and interesting people who make up our world of real estate. We talk real estate with some interesting and fun facts... Its like house porn! We talk lifestyle, staging tips, home buying selling and investing... all with a happy ending...House Talk with a Happy Ending Get bonus content on Patreon Become a member at https://plus.acast.com/s/pattysplayhouse https://plus.acast.com/s/pattysplayhouse. Hosted on Acast. See acast.com/privacy for more information.

Rose by Pierre Cardin (1990) + David Jacobs's Knots Landing season 8 (1986-87) + Jennifer Miller and Leah Marcus's Paper Dolls (1982, 84) with The Eternal Dillards of Ghost Jail  5/15/24 S6E36 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

The Dillards were the first band to bring the backwoods shredfest genre known as bluegrass out west. Within one year of their arrival in Los Angeles in 1962, The Beverly Hilldillards landed a recording contract with Elektra, a supporting role on the Andy Griffith Show and released Back Porch Bluegrass - fifteen metallic-acoustic rippers that serves as a fantastic introduction to traditional bluegrizzle.

 Chantelle From Newcastle And Jack "She Worked At Dillards" so is this why they're not going out again? Wouldn't she share her discount?

Chuck Lasley, IT Director at Dillard's, explains the pivotal role of 2D barcodes in retail innovation, illustrating Dillard's strategy of incorporating these versatile codes into their products, which range from apparel to accessories. Amidst the growing demand for intricate product details, Chuck emphasizes the imperative for sales associates to be adept in product knowledge facilitated by 2D barcodes. As Chuck explains, 2D barcodes can lead to improved inventory management, better customer service, and enhanced consumer storytelling possibilities. The conversation also explores AI's potential in customer service, the impact smartphones have had on computing power, and the potential of automated vehicles in altering supply chain dynamics. Chuck applauds the implementation of evolving technologies like RFID, which are crucial in the industry-wide 'Sunrise 2027' initiative. Sunrise 2027 aims for widespread adoption of 2D barcode scanning by 2027, with Dillards ambitiously targeting an earlier date. This episode covers automation, innovation, and the pursuit of a unique identity within the global supply chain.   Key takeaways:  Technology in customer service is advancing with tools integrating RFID and 2D barcode technologies in supply chain operations to improve accuracy and efficiency. The retail industry recognizes the importance and advantages of transitioning from 1D to 2D barcodes and RFID technology for improved inventory management, customer service, and access to detailed product information.   Technological advancements create enriched consumer experiences through unique transaction identifiers and product storytelling.   Resources:  Learn More About 2D Barcodes Resources for the Transition from 1D to 2D Barcodes  Behind the Barcode: Mastering 2D Barcodes with GS1 US   Connect with GS1 US: Our website - www.gs1us.org GS1 US on LinkedIn   Connect with guest: Chuck Lasley on LinkedIn Check out Dillard's

John McEuen was born in 1945 and spent his high school years in California's Orange County. He and lifelong high-school friend Steve Martin both got a job in 1963 in the magic shop at Disneyland when they were just 16. When John saw Missouri bluegrass group The Dillards in an Orange County club a couple of years later, his life changed forever. He knew he wanted to be “a traveling music man”. As a multi-instrumentalist (banjo, guitar, mandolin, fiddle) John has been recognised as a founding member and award-winning outstanding performer of the Nitty Gritty Dirt Band. He left the group at the end of the 50th year anniversary tour in 2017 due to demands for his solo work and the desire to do new things. In addition to John's numerous solo accolades, NGDB was inducted in to Colorado Music Hall of Fame 2015. It's all covered in his book 'The Life I've Picked' from 2018. In 1971 John initiated the now landmark Will the Circle be Unbroken* album, hooking Nitty Gritty Dirt Band up with his musical mentors Earl Scruggs and Doc Watson. The now multi-platinum “Circle” is in both the Library of Congress and the Grammy Hall of Fame. Radio Host, author, television show producer, writer, concert promoter, multi-instrumental musician, performer and magician. His second book – Will the Circle Be Unbroken – 50th anniversary Year – The Making of a Landmark Album captures 145 of his brother's (record producer/manager) ‘masterpiece' photos and tells the stories behind each one. John has made over 46 albums (7 solo) that have earned four platinum and five gold records, multiple Grammy Awards and nominations, CMA and ACM awards, an Emmy film score nomination, IBMA record of the year award, and performed on another 25 albums as guest artist. John's production of Steve Martin – The Crow won the 2010 Best Bluegrass Album Grammy. Other accolades include: Grammy nomination for String Wizards II, the Uncle Dave Macon Award (for excellence in preservation and performance of historic music). He is a producer/composer of film scores and has produced award-winning projects of his own and for several other artists. John has continually performed since 1963 – doing over 11,000 concerts, 300 television shows, 10,000 interviews and flown more than 4 million miles. John's rich history of creating, producing and preserving original and traditional folk music earned him the 2013 Charlie Poole Lifetime Achievement Award. John was inducted in 2017 to the American Banjo Museum Hall of Fame In this episode, John shares the stories from his musical life and tells us how excited he is to have recently released something entirely different. It's a spoken word album called "The Newsman: A Man of Record" which is a collection of poems and stories set to music. I hope you enjoy hearing John McEuen open up about his incredible life and career. If you'd like to learn more about him, head to his website https://johnmceuen.net/ and if you'd like to get in touch with me - with feedback, comments or suggestions for future guests, please reach out through my website https://www.abreathoffreshair.com.au

Ungaro Pour Homme by Ungaro (1991) + David Jacobs's Knots Landing season 7 (1985-86) + Tim Burton's Beetlejuice (1988) with The Eternal Dillards of Ghost Jail 2/23/24 S6E19 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

This week I spoke via Skype, then Zoom, with Josh Robbins and Scott Wishart of Late Bloomer! We talk about their new album, Another One Again, Scott's other band, Jupiter Hearts, previous projects, Lunchbox Records, podcasts, and more! Freezing issues throughout both sessions caused some odd edits, but you'll figure it all out. Follow the links below to pre-order the new LP!Late Bloomer: https://latebloomer.bandcamp.com/https://www.facebook.com/latebloomernc/Self Aware Records: https://selfawarerecords.com/https://selfawarerecords.bandcamp.com/https://www.facebook.com/selfawarencLunchbox Records:  https://lunchboxrecords.com/https://www.facebook.com/lunchboxrecordsDead Broke Records: https://www.deadbrokerecords.com/Tor Johnson Records: https://www.torjohnsonrecords.com/Jupiter Hearts: https://jupiterhearts.bandcamp.com/https://www.facebook.com/jupiterheartscharlotteSongs for GGHT91: Meth Mountain - RegulatorsPullman Strike - BloodlinesScout - EconomicsLate Bloomer - SunglassesJupiter Hearts - Mouthful of TruthLate Bloomer - Behind Your EarVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

Amanda has been threatening to talk about bluegrass on the podcast for years, and we finally settled on the perfect album to start with: Live!!!! Almost!!! by the Dillards. Half a comedy album and half a virtuoso performance by expert musicians, it's a fantastic introduction to the genre. It was recorded in front of an audience completely unfamiliar with bluegrass music, so the band chose songs that were catchy and accessible, then made it even more engaging by adding Smothers Brothers-style jokey commentary in between. The result is an interesting and very entertaining live album that stands a good chance of winning over any bluegrass skeptics, and even if it doesn't, it gives us a chance to explain why we like it. Cohosts: Amanda Rodgers, Ben Marlin, John McFerrinComplete show notes: https://discordpod.com/listen/135-the-dillards-live-almost-1964Discord & Rhyme's merch store: http://tee.pub/lic/discordpodSupport the podcast! https://www.patreon.com/discordpod

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

This week I spoke with not only musicians, but musicians making indie comics! Ryan Holgerson of Slackmatic (and musically, The Modrats), along with returning guests, Levi Erickson (The Big) and Jeff Williams (Supernova Über Alles), sit down for a conversation that leans heavily towards making comics and the comics industry in general (both indie and major), but we do talk music too! This one runs a little longer, but it could have easily been another hour and a half if I hadn't stopped the recorder, plus I spared you thirty minutes of toy talk up front! Comics in the Making: https://www.youtube.com/@comicsinthemakingSlackmatic: https://www.facebook.com/slackmatichttps://www.instagram.com/slackmatic0https://www.etsy.com/shop/slackmaticThe Modrats: https://www.facebook.com/themodratshttps://themodrats.bandcamp.comThe Big: https://www.etsy.com/listing/1443526242/the-big-chapter-1-mini-comicNo Anger Control: https://noangercontrol.comSupernova Über Alles: https://www.instagram.com/supernova_uber_alles/https://www.etsy.com/listing/1636495147/supernova-uber-alles-comic-book-issue-1Songs for GGHT90:The Modrats. - TwizzlersThe Modrats - Loneliest MouseDead Kings - Liver DieNo Anger Control - All Our FriendsVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

This week I talked to Chris and Wes Johnson from the band Hardcore Lounge about their family history, their history in music, documentary film making, underneath the stage at the Milestone Club, and more! We spend a good bit of time talking about The Johnson Family Singers, making this the furtherest back GGH has gone in local music history! Listen to learn more!Hardcore Lounge: https://www.facebook.com/profile.php?id=100054169163505https://www.youtube.com/@HardcoreLoungeTVWesley Johnson YouTube: https://www.youtube.com/@wesleyjohnson5575Songs for GGTH89:The Johnson Family Singers - You Must Be Born AgainBetty Johnson - It's Been a Long, Long TimeCyclone Mack - Western AvenueHardcore Lounge - Terrible TimeHardcore Lounge - PterodactylSkeeters - Porno RockHardcore Lounge - HolidayHardcore Lounge - Samui BluesHardcore Lounge - BaliThe Johnson Family Singers - Deliverance Will ComeVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

In this episode, I welcome back Christopher Bickel, director of the upcoming film, Pater Noster and the Mission of Light. We touch on his time in bands such as In/humanity and Guyana Punchline, but mostly stay focused on his still in progress DIY horror movie this time around. We also talk about how thrifting has changed, the importance of buying physical media, the joys and pains of crowdfunding, and one pretty amazing soundtrack! https://www.paternostermovie.com/Songs for GGHT88 :In/Humanity - Burn it to the GroundPater Noster and the Mission of Light - An AgendaVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

This week I went to "World Famous" Shelby, NC to talk to the band Y'all're about, not only how they got started and their upcoming shows, but about the other bands they're connected with as well! The Dancing Fleas, Tex Svengali, The Good Graces, Ministry (not that Ministry!), Metaphonia, and more! This episode is about family, being a weirdo, never being too late to get started, and doing things your own way. Mandatory listening.Y'all're: https://www.facebook.com/profile.php?id=100089082583229&sk=photoshttps://soundcloud.com/yallre-bandhttps://yallrepunk.bandcamp.com/The Dancing Fleas: https://www.facebook.com/dancingfleashttps://www.thedancingfleas.com/The Good Graces: https://www.facebook.com/thegoodgraceshttps://thegoodgraces.bandcamp.com/Jazzyzach: https://open.spotify.com/artist/3nU4N99V6mKuRXr7zJibe4?si=wim4VZPyQo2iOmREtDd_lQSongs for GGHT87:Tex Svengali - Retail JerkKin Ware & The Good Graces - Capital RMetaphonia - TJsThe Dancing Fleas - Lonesome Number OneThe Dancing Fleas - The Fleas Are Here!Y'all're - Thrift Store Nativity JesusY'all're - Keycard to JulliardVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

This week I sat down with James Sain, Jonny Dick, and Chad Landman to talk all things Fat Tortoise Butcher! And we laugh. A lot. This episode is not for the easily offended! And that's even without that stories that didn't make the cut! In addition to FTB, we also talk about James' side project Friend of Chuck, the art of merchandising, grilling hot dogs on stage, failed chicken fights, and so much more! https://www.lardcore.net/https://www.youtube.com/@ftbjameshttps://fattortoisebutcher.bandcamp.com/Songs for GGHT86:Fat Tortoise Butcher - BodybagNefarious - 0.0Fat Tortoise Butcher - Good Riddance Fat Tortoise Butcher - C-Bass the ButcherFriend of Chuck - Go Ahead and Touch ItFat Tortoise Butcher - Willie Licked My TwizzlerVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

Jill Duggar Dillard grew up as star on the hit TLC reality TV show “19 Kids and Counting.“ She was the first Duggar daughter to marry, and over 4.4 million people tuned in to watch the two-hour televised wedding. Viewers were fascinated with her family's way of life and their strict adherence to teachings that Jill now calls cult-like. In their new book, ”Counting the Cost,“ Jill and her husband, Derick, share the behind-the-scenes moments that remained hidden from viewers. Now they are raising a family of their own, they say they are done with secrets and are looking forward to blazing their own trail as the Dillards.

This week we feature banjo player Cory Walker.  Cory is currently performing and recording with the band East Nash Grass, as well as others, like The Dillards, Tim O'Brien and Jason Carter.  He has also recently come out with a solo album titled School Project.  We will talk with Corey about his bluegrass banjo journey to date and the new recording.

A brand-new gospel album from High Fidelity is featured on today's programme, along with some classic bluegrass from the Gibson Brothers, the Lonesome River Band, and a very young Dillards in their first ‘live' recording. Other pickers include David Grisman, Hunter Berry, Mountain Heart and Donna Ulisse.

Who says I don't love drummers?! Gabba Gabba Huh? has the most drummers on and this week it's the drummer from Lonshot Odds, Cory Wittmere! In addition to finding out what's going on with his band, we also talk about his previous projects, having varied influences, the benefits of electronic drums, and Conway Twitty?! Yes indeed. https://www.facebook.com/Longshotoddshttps://longshotodds.bandcamp.com/Songs from GGHT85:Warfare Check - Go Fucking DieYou, Me, and Us - A New RevolutionLongshot Odds - Struggle, Survive, RepeatLongshot Odds - That GuyVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

The Darlings bring Charlene's infant daughter to town to arrange a marriage for her and Andy is not having it when they set their sights on Opie.

This week, Gary Ramsey paid a visit to the GGH Studio to talk about his nearly 50 years of playing music. Gary is one of a kind and a real hidden gem in the music scene, getting his inspiration by seeing Zeppelin in his teens, cutting his teeth on metal, moving to California and then walking back to North Carolina, a detour in prison after he got back, and America's Got Talent audition, and so many other stories, some of which you aren't gonna believe! Heck, I'm not sure Gary even believes them all! One of the more unique individuals I know and someone who is truly passionate about music, so whether you know him or not, you're sure to be entertained by this one!Gary Ramsey links:YouTube: https://www.youtube.com/@GaryRamsey62Soundclick: https://www.soundclick.com/artist/default.cfm?bandID=1496081Soundcloud: https://soundcloud.com/gary-ramseyReverbnation: https://www.reverbnation.com/garyramseyThe Ramsey/Loikkanen Project: https://www.facebook.com/profile.php?id=100063372811582Soundcloud: https://soundcloud.com/ramsey_loikkanenReverbnation: https://www.reverbnation.com/theramseyloikkanenprojectSongs for GGHT84:Gary Ramsey & Wicasta Lovelace - Gone Woman BluesVicious - Masters of the GoreMachine - Pull the PlugGary Ramsey - If Loneliness Had a NameGary Ramsey & John Matteson- Jibber JabberPapa Shine and the Still - Dance Like the World is on FireThe Ramsey/Loikkanen Project - Rattle My CageElvis Hitler - Green HazeGary Ramsey  - Black DogGary Ramsey - Remember Us This WayMachine - WarzoneVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

This week I  spoke with Mitchell McGirt of Bicycle Face via Skype to follow up on how the reunion show went and to hear about the Caleb Southern tribute show the following night as well. We also hit a few quick tangents and talk about what the future may hold for Mitch. This episode was already planned, but having this week's guest reschedule left a hole in the schedule, so this shorter episode should hold you over until next week's new full length episode drops!Bicycle Face at the Caleb Southern memorial show: https://youtu.be/yH1tHMKF4Y8?si=hWj398PsEfIK6c12Bicycle Face: https://www.facebook.com/profile.php?id=100053110207841Songs for GGHT83.5:Bicycle Face - Mitchell McGirtNorwegian Forehead - Dom FilnegroBicycle Face - Sonic Man vs The TroggsBicycle Face - I Can Hear the Grass GrowVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

This week I travelled to Greensboro, NC, to talk to Bicycle Face about their reunion shows and the reason they came about. In addition to talking about their histories in music, we also talk about witty stage banter, Caleb Southern, where Bicycle Face fit into the triangle signing spree of the mid-nineties, and becoming a "that guy!" actor.Bicycle Face: https://www.facebook.com/profile.php?id=100053110207841Songs for GGHT83: Smellit - BullSmellit - Johnny's KiteBicycle Face - I'm the Devil (And You're Not) Bicycle Face - Teenage Identity SongBicycle Face - Lost WeekendBicycle Face - Master ThespianBicycle Face - Fable of MythBicycle Face - Irrelevant Visit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

Diva by Ungaro (1983) + David Jacobs's Knots Landing season 6 (1984-85) + Iván Nagy's Intimate Encounters (1986) with The Eternal Dillards 8/29/23 S5E56 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

It's amazing when a remark from years ago is suddenly remembered, and now makes more sense.

In this episode, Sheldon speaks to Dr. Delaine Fowler is a recognized expert in the Work Health Connection. A physical therapist specializing in workplace injuries, Delaine has helped thousands of patients on their road to physical recovery. Delaine's company serves 10,000 employees by placing physical therapists and certified athletic trainers where they're needed most: the workplace. Her clients include major brands like Aldi, Jeld Wen, and Dillards. Delaine is a popular keynote speaker and workplace safety thought leader known for her practical approach and industry shaping insights.

This week I visited Jay Garrigan to talk about his career in music, including stints in such bands as Violet Strange, Laburnum, Temperance League, Poprocket, The Eyebrows and others! We talk about his recently broken finger and how it both has and hasn't sidelined his music, about the pros and cons of being on a label, working with Mitch Easter, self promotion, The Eyebrows upcoming record, and more! And be sure to sign up for The Eyebrows mailing list for exclusive peaks at the new album and lots more straight to your inbox!The Eyebrows: https://the-eyebrows.com/Jay Garrigan: http://jaygarrigan.com/Fidelitorium: https://www.fidelitorium.com/Songs for GGHT82:The Eyebrows - I Feel UnlovedJay Garrigan - Hard WiredViolet Strange - Graffiti LoveLaburnum - Silent NightPoprocket - BounceThe Eyebrows - Red DressThe Eyebrows - Say Yeah!The Eyebrows - Demon in My HeadVisit Gabba Gabba Records & Vintage Goods! Located inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show

On today's episode of PMA, we're back with a followup to last week's wild and crazy doorcam vid. This time we've decided to add several clips for more context

On today's episode of PMA, we want to start an ongoing trend of reviewing Doorbell cams gone wild!!! 1st up is Karen the cat hater

This week I have a shorter, "Release Series" episode! Since it's been a while, Release Series episodes that tend to be shorter and focused on a newly released song. On this episode, Patrick North of Longhost Odds returns to talk about his band's new song, Easy, and what they've been up to. Patrick asks me a few questions too, so you can hear about some things I've been up to as well!Longshot Odds: https://www.facebook.com/Longshotoddshttps://longshotodds.bandcamp.com/Rolling for What Now? Podcast: https://www.rollingforwhatnow.com/Songs for GGHT81:Longshot Odds - Go For BrokeLongshot Odds - VCRs and Mix TapesLongshot Odds - EasyVisit Gabba Gabba Huh? Records & Vintage Goods! Located on the first floor of Eastridge Mall in Gastonia, NC, near Dillards!Visit Hobo Wolfman Records, located inside Junky Monkey 3041 Kerr Ave, Wilmington, NC!Support the show

On today's episode, we review a recent racially biased incident that happened at a Dillard's department store. Later Miz talks about some of his personal experiences when dealing with similar incidents.ENJOY!!!

Guest Bio:Cardin McKinney is an actress, model, songwriter, and artist. Cardin made a name for herself after gaining a spot on American Idol Season 7, eventually landing in the Top 25.After Idol, Cardin signed a publishing deal with Victoria Shaw and joined on as a staff songwriter on Nashville's Music Row.In addition to breaking into the music industry, Cardin has become a sought after actress and model landing international modeling and acting roles for boutique and major brands and entertainment properties including Almay, Royal Caribbean, Ford, Dillards, and Saks Off 5th.

This week I sat down with Jonny Golian (AKA Jonny G) from Reporting from 20XX to talk about his involvement in supporting and documenting the scene through pictures, video, blogging, reviews, show listings, and more! We also talk about how he became acquainted with the local music scene, his time writing for his college paper, how he got into the photography side of things, and his involvement in the drag community, and get off on so many tangents along the way!https://reportingfrom20xx.com/Songs from GGHT80:The Eyebrows - Have Mercy, Lose Control (https://the-eyebrows.com/)One Big Love - Spaceship (https://www.reverbnation.com/onebiglove)Dollar Signs - Reinventing Dollar Signs (https://dollarsignstheband.com/)Heckdang - (The Death of the) Nuclear Self (https://heckdang.bandcamp.com/)The Girls - Kill (https://thegirls77.bandcamp.com/)Jah Freedom -The Dream, The Bed (https://jahfreeonthebeat.bandcamp.com/)Van Huskins - Super Yikes (vanhuskins.bandcamp.com)Visit Gabba Gabba Huh? Records & Vintage Goods! Located on the first floor of Eastridge Mall in Gastonia, NC, near Dillards!Visit Hobo Wolfman Records, located inside Junky Monkey 3041 Kerr Ave, Wilmington, NC!Support the show

Polo by Ralph Lauren (1978) + David Jacobs's Knots Landing season 5 (1983-84) + John Flynn's Rolling Thunder (1977) with The Eternal Dillards 7/13/23 S5E50 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

A tribute to bluegrass great Bobby Osborne, who died on June 27, 2023. Featuring music of the Osborne Brothers, plus recordings of Bobby working with Rhonda Vincent, Mac Wiseman, and tracks from other groups doing Osborne Brothers' tunes. You'll hear NZ's own HCBB, Bill Runkle, the Dillards, Doyle Lawson and others in this great line-up.

Maybe you've heard the saying "Love what do and you won't work a day in your life."Well, 90 year old Melba Mebane must have really loved her job at Dillard's because she finally retiring after 74 YEARS!Happy Retirement, Melba! Hopefully you got more than a pizza party...

This week, I spoke to percussionist, Scotty Irving, via Skype on two separate days due to technical difficulties and crossed wires! Scotty is best known as the one man behind the Christian Harsh Noise act, Clang Quartet, but we also talk about his time behind the drums in Geezer Lake, Benj-O-Matic, and Spirit of Hamlet, as well as school band, but the main focus of this one is Scotty's faith. Clang Quartet: https://www.facebook.com/clangquartetyoutube.com/clangquartet1967Armor of God: https://youtu.be/dwNBDz1w1tgGeezer. Lake: https://www.facebook.com/geezerlakeSpirit of Hamlet: https://spiritofhamlet.bandcamp.com/https://www.facebook.com/profile.php?id=100088661322401Benjy Johnson: http://www.benjyjohnsonmusic.com/Songs for GGHT79:Geezer Lake - Field BlisterGeezer Lake - My Ugly Body TempleClang Quartet - With Weariness and Heavy Heart (https://norentrecords.bandcamp.com/album/a-slow-death-for-the-peacemaker-nrr163) Clang Quartet Live at Tulsa Noisefest (https://youtu.be/PU61tjOdVDY)Clang Quartet. - Love Thy Neighbor (https://cruelsymphonies.bandcamp.com/album/judge-thy-neighbor-love-thyself)Benj-O-Matic - Shoot the Pig (http://www.benjyjohnsonmusic.com/)Spirit of Hamlet - Strike it Rich (https://spiritofhamlet.bandcamp.com/)Visit Gabba Gabba Huh? Records & Vintage Goods! Located on the first floor of Eastridge Mall in Gastonia, NC, near Dillards!Visit Hobo Wolfman Records, located inside Junky Monkey 3041 Kerr Ave, Wilmington, NC!Support the show

This week on the program we continue with part 2 of our survey of folk and country rock music. We'll feature music from The Byrds, Buffalo Springfield, The Dillards, Linda Ronstadt, Jack Tempchin, The Eagles and many more. Listen a few more classics with that peaceful easy feeling … this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysThe Byrds / “Nashville West” / Dr. Byrds and Mr. Hyde / ColumbiaBuffalo Springfield / “Go and Say Goodbye” / Buffalo Springfield / AtcoThe Dillards / “I've Just Seen a Face” / Wheatstraw Suite / ElektraInternational Submarine Band / “Luxury Liner” / Sweetheart of the Rodeo / ColumbiaThe Byrds / “One Hundred Years from Now” / Sweetheart of the Rodeo / ColumbiaBob Dylan / “John Wesley Harding” / Travelin' Thru / Columbia Poco / “Medley-Hard Luck-Child's Claim to Fame-Pickin Up the Pieces” / Deliverin' / EpicLinda Ronstadt / “The Only Mama That'll Walk the Line” / Hand Sown...Home Grown / BGOThe Flying Burrito Brothers / “Wheels” / The Gilded Palace of Sin / A+MLongbranch Pennywhistle / “Run Boy Run” / Longbranch Pennywhistle / GeffenThe Byrds / “Nashville West” / Untitled / ColumbiaShiloh / “Simple Little Down Home Love Song for Rosie” / The Eagles Before They Were Famous / Gray ScaleJack Tempchin / “Peaceful Easy Feeling” / Peaceful Easy Feeling The Songs of Jack Tempchin / BluelanEagles / “Midnight Flyer” / On the Border / AsylumJackson Browne / “Take it Easy” / For Everyman / AsylumEverly Brothers / “I'm On My Way Home Again” / Silver Meteor / SierraThe Byrds / “Oil In My Lamp” / Ballad of Easy Rider / ColumbiaPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Florida Woman Left Kids In The Car That Caught Fire While She Was Shoplifting At DillardsSee omnystudio.com/listener for privacy information.

TalkSports 5-10 HR 3: Mall Chicken, Dillards And Dicks by FOX Sports Knoxville

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