Podcast appearances and mentions of Duane Eddy

Johnnie Putman and Steve King have another cavalcade of characters on this super stuffed show! Throughout the show, we’re paying tribute to the late legend Duane Eddy ahead of what would have been his 87th birthday. Plus, we have the obligatory food jones. Our first featured friend is Steve Bernas, President & Chief Executive Officer […]

32.024 We're swingin' for the fences -celebrating the finest in retro-styled roots rock n' roll on the "Go Kat, GO!" show. Giving our turntable a good spin with the debut 12" LP of The Honkytonk Wrangers ("Hangin' Around"), the Chop Tops cool blue vinyl LP 'Fabrikate' ("Yes No Maybe Baby") and enjoy a hot slice with the Montreal Madman, Bloodshot Bill ("Pizza Pie")! We honor the passing of legendary gameshow host Wink Martindale with a batch of his early 'rockin' releases in tonight's program and turn down the mic to enjoy a nice batch of instrumental recordings including the late Duane Eddy -who was honored in Nashville this past week at the Grand Ol' Opry!). Hear some fresh debuts from Ali Jack and the Hilljack Stompers, Johnny Knife & His Rippers, The B-Shakers, The Helltown Sinners and MORE! Don't miss a single second... it's good to the last bop™!Please follow on FaceBook, Instagram & Twitter!

Alt.Latino hosts Felix Contreras and Anamaria Sayre play the new music that caught their ears this week, plus Felix delivers a deep dive into the roots of psicodélico. Featured artists and songs:• Eslabón Armado, "Esa noche" • Adrian Quesada, "Ojos Secos" (feat. Cuco)• Jessie Reyez, "**I NEVER SAID I WAS SANE**" • BALTHVS, "Year of the Snake" • Grateful Dead, "Dark Star"• Os Mutantes, "A minha menina"• Duane Eddy, "Rebel Rouser" • Valeria Castro, "debe ser" • Valeria Castro "sentimentalmente"Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Alt.Latino hosts Felix Contreras and Anamaria Sayre play the new music that caught their ears this week, plus Felix delivers a deep dive into the roots of psicodélico. Featured artists and songs:• Eslabón Armado, "Esa noche" • Adrian Quesada, "Ojos Secos" (feat. Cuco)• Jessie Reyez, "**I NEVER SAID I WAS SANE**" • BALTHVS, "Year of the Snake" • Grateful Dead, "Dark Star"• Os Mutantes, "A minha menina"• Duane Eddy, "Rebel Rouser" • Valeria Castro, "debe ser" • Valeria Castro "sentimentalmente"Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week, Steve pays tribute to the artists to which we said goodbye.  In this show: Chris Spedding w/ The Vibrators (Pat Collier), Ultravox (Chris Cross), Duane Eddy, Raspberries (Eric Carmen), The Greg Kihn Band (Greg Kihn), Iron Maiden (Paul Di'Anno), Steve Harley & Cockney Rebel (Steve Harley), Pale Saints (Graeme Naysmith), Electric Light Orchestra (Richard Tandy), The Shangri-Las (Mary Weiss), MC5 (Wayne Kramer, Dennis Thompson), World Party (Karl Wallinger), The Chills (Martin Phillips), Jimmy James & The Vagabonds (Jimmy James), Frankie Beverly's Raw Soul (Frankie Beverly), John Mayall & The Bluesbreakers (John Mayall), The Paley Brothers and Ramones (Andy Paley), Mojo Nixon and Skid Roper (Mojo Nixon). AI-free since 2016! On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

249. Only the strongest rockers can endure the three hour non-stop barrage of wild rock n' roll music that is "Go Kat, GO!" Step on up and thrill your ears to the coolest, greasiest sounds around; DJ Del Villarreal has the best vintage music from the Motorbilly Audio vaults to pair with the crazed & exhilarating mix of modern roots rock beats! Digging into the new 12" vinyl LP from Charlie Thompson ("Untamed Heart" available NOW on Fairlane Records!), swooning over the incredibly soulful twang of Rob Heron & The Tea Pad Orchestra ("Feet First!" available NOW on Sleazy Records!), bopping to the amazing Howlin' Ramblers' disc ("Shake It Around!" out NOW on Sleazy Records!), stomping our boots to the wicked honky tonk twang of West Of Texas ("Hot Motel Nights" on Pleasant Valley Ranch Records!) and screaming out loud with the invigorating new LIVE album from Levi Dexter ("Jumps, Gigs And Shouts" is for sale NOW on Johnny Kool Rockabilly Factory Records!)! Move and groove with HOT records from Deke Dickerson and the Whippersnappers, The Delta Bombers, The Bellfuries, Carl Bradychok, The Biscats, Diablogato, The Surfragettes, Haunted Rhythm and even Rockabilly Steve And BR3! Your hankering for the finest vintage rockabilly and honky tonk bop will be satisfied with deep cuts from Johnny Bond, Freddy Fender, Charlie Feathers, Hank Thompson, The Musical Linn Twins, Webb Pierce, Duane Eddy, Rusty York and even Johnny Horton! It's a rollickin' radio program that only an Aztec Werewolf™ could curate! For the BEST rockin' music, it has to be DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Interview with Arlen Roth 2024 Arlen Roth is a true guitar legend; part of the list of who he's recorded and toured with contains folks like Simon & Garfunkel (together and individually), John Prine, Phoebe Snow, Bob Dylan, Bee Gees, Don McLean, Levon Helm, Ry Cooder, Duane Eddy, Danny Gatton, Janis Ian, Dusty Springfield, John Sebastian, Johnny Winter and countless more. He also appeared with Ramblin' Jack Elliot and Patti Smith in the Martin Scorcese Rolling Thunder film, created the guitar parts and was consultant and teacher to Ralph Macchio for the legendary blues film, Crossroads. In 2016, he wrote and performed an acoustic guitar piece with Daveed Diggs and Leslie Odom, Jr. of Hamilton for ESPN. Arlen was voted in the Top 100 most Influential guitarists of all time by Vintage Guitar Magazine and top 50 all-time acoustic guitarists by Gibson.com. Now, on Arlen Roth's 20th solo album and his fifth all-acoustic offering, he's bringing rootsy acoustic music to new heights on Playing Out the String, set for release September 27 and distributed by MVD. The new album was recorded, mixed and mastered by Alex Salzman, who also contributes keyboards to the mix.  Arlen's previous album, Super Soul Session, with bass legend Jerry Jemmott, sat atop the Blues and Soul charts for 22 straight weeks, and was in the Top 5 for 55 straight weeks this past year. Arlen has also been at the forefront of guitar and music education, with 10 best-selling books, and he was the first-ever to offer video instruction with the giants of the music industry through his “Hot Licks” company, which he started in 1979, and has had millions of students worldwide. His column for Guitar Player magazine was voted #1 by the largest margin of readers from 1982 to 1992, and was also turned into a best-selling book, Hot Guitar. On Playing Out the String,  this all-acoustic, mostly solo album is very personal to Arlen and is really like getting an up-close "at home" concert in your living room. On it, he paints with broad strokes across several genres of music he loves. From "Old Timey" Norman Blake material to country blues from Sonny Terry and Brownie McGhee and Tampa Red; he even makes you feel at home with Nilsson's "Everybody's Talkin'" and gives his 12-string guitar a workout on the archetypical, "Walk Right In." https://www.arlenroth.com  

Recently, the Oklahoma born singer, guitarist, and songwriter J.D. McPherson chats with us about his just released album, Nite Owls (New West Records), and how he aimed to blend such diverse influences as Duane Eddy, T. Rex, and Depeche Mode.  The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   This episode is dedicated to Kris Kristofferson (1936-2024), iconic singer, songwriter, actor, handsome devil, and ally against injustice.

Paul and Erin review two films about vengeful stalkers out to destroy seemingly picture-perfect households: Martin Scorsese's pulpy 1991 drama CAPE FEAR, and Curtis Hanson's 1992 domestic thriller THE HAND THAT ROCKS THE CRADLE. Music: "Stalkin'" by Duane Eddy

Catching A Wave goes back to the 80's this week! All the songs this hour come from this awesome decade. We'll board the Catching A Wave Time Machine for the week of June 15th, 1985 to hear some songs on the Billboard Hot 100 including the song at the top. Beth Riley has a deep track from The Beach Boys in her Surf's Up-Beth's Beach Boys Break. We have a tune from the debut album by The Bangles that's celebrating it's 40th anniversary in our Good Time segment and we'll drop a coin in the Jammin' James Jukebox to spin some wax from the early 80's for our selection of the week (The Malibooz). Plus, 80's tunes from The Raybeats, The Untamed Youth, Duane Eddy, Davie Allan & The Arrows (featuring Dick Dale), The Halibuts, Jon & The Nightriders, The Surf Raiders, Surf Punks, The Surfin' Lungs, The Wedge and The Neptunes!   Intro music bed: "Catch A Wave"- The Beach Boys/ Huey Lewis & The News- "Power Of Love" (instrumental)   The Raybeats- "Searching" The Surfin' Lungs- "Pray For Sun" The Surf Raiders- "Crash" Jon & The Nightriders- "Geronimo" Duane Eddy- "The Trembler"   Good Time Segment: The Bangles 40th anniversary of All Over The Place The Bangles- "Tell Me"   The Neptunes- "Hydrophobia" The Wedge- "Night Of The Living Wedge"   Surf's Up- Beth's Beach Boys Break: The Beach Boys- "It's Gettin' Late" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Davie Allan & The Arrows (with Dick Dale)- "Surf Trek" The Untamed Youth- "One Pine Box" Surf Punks- "My Beach"   Catching A Wave Time Machine week ending June 15th 1985 on Billboard's Hot 100: #43 The Power Station- "Get It On (Bang A Gong)" #32 The Beach Boys- "Getcha Back" #1 Tears For Fears- "Everybody Wants To Rule The World"   Jammin' James Jukebox selection of the week: The Malibooz- "Surf Beat '81"   The Halibuts- "Church Key"   Outro music bed: Duane Eddy- "Rockabilly Holiday"

Born in Mount Ephraim, New Jersey, Vaughn grew up in Collingswood, New Jersey, outside Philadelphia.[2][3] At age 6, his uncle gave him a Duane Eddy record and forever changed his life. He started playing the drums in a garage band when he was 12, then transitioned to the guitar. After school, he would go to a local department store, where he would borrow the guitars and practice over chord sheets.[4] He attended Audubon High School.[1]In 1983, he formed the Ben Vaughn Combo. The band was together for five years, releasing two albums and touring the U.S. several times. They received rave reviews in Rolling Stone and People magazines as well as video airplay on MTV. The attention inspired Marshall Crenshaw to record Vaughn's "I'm Sorry (But So Is Brenda Lee)" for his Downtown album. Vaughn embarked on a solo career in 1988, recording several critically acclaimed albums, touring extensively in Europe and the U.S., and receiving more MTV exposure. During that period he produced three records for the Elektra Records American Explorer series (Memphis rockabilly legend Charlie Feathers, Muscle Shoals country soul singer Arthur Alexander) and recorded "Cubist Blues" a collaboration with Alan Vega and Alex Chilton. He also scored two films (Favorite Mopar and Wild Girl's Go-Go Rama), as well as appeared as a frequent guest commentator on nationally syndicated radio shows Fresh Air and World Cafe. In 1995, Vaughn moved to L.A. and released "Instrumental Stylings," an album of instrumentals in a variety of styles. A guest appearance on KCRW's "Morning Becomes Eclectic" led directly to being hired as the composer for the hit TV sitcom 3rd Rock from the Sun. That '70s Show soon followed, and for the next ten years, Vaughn would provide music for a dozen other TV shows and pilots (Men Behaving Badly, Normal, Ohio, Grounded for Life). He also provided scores for several films (Psycho Beach Party, The Independent, Scorpion Spring) and continued producing records (Ween, Los Straitjackets, Mark Olson of the Jayhawks, Nancy Sinatra, and the Swingers soundtrack CD). Support the Show.It's Rock 'n' Roll Fridays!FacebookYoutubeInstagramWebsite Got a Great Musical Story? Be a guest, email us: michael@michaeldmarketing.com

Where else can you find both Phish and The Muppets (Animal) going Head 2 Head covering a classic by The Surfaris? Right here on Catching A Wave! We also hear #3 and #2 in our Top 5 Favorite Dick Dale Song Countdown! Beth Riley has a tune related to The Beach Boys in her Surf's Up: Beth's Beach Boys Break. There's a song by The Kaisers celebrating it's 30th anniversary in our Good Time segment and we drop a coin in the Jammin' James Jukebox to hear our selection of the week (Duane Eddy)! Plus, there's songs from Ichi-Bons, The Scimitars, the Lake Devils, Magnatech, The Rebel Set, The Other Timelines, Marco Di Maggio, Jenny Don't & The Spurs, Punk Fiction, Ultra Lights, dayaway and Shriek If You Know What I Did Last Friday The 13th!    Intro music bed: "Catch A Wave"- The Beach Boys   Magnatech- "Departure Hall" the Lake Devils- "Seizures"   Favorite Dick Dale Song Countdown: #3 Dick Dale- "Nitro"   Ichi-Bons- "Snake Eyes" Ultra Lights- "Nostalgia"   Good Time segment: The Kaisers 30th anniversary of "In Step With The Kaisers" (1994 No Hit Records) The Kaisers- "Squarehead"   The Rebel Set- "Bummer City" The Scimitars- "Taverna"   Surf's Up- Beth's Beach Boys Break: Kenny & Cadets- "What Is A Young Girl Made Of" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Shriek If You Know What I Did Last Friday The 13th- "El Tormento's Theme"   Favorite Dick Dale Song Countdown: #2 Dick Dale- "The Wedge"   dayaway- "rogue wave" Jenny Don't & The Spurs- "War Cry!"   Head 2 Head: Phish- "Wipe Out" The Muppets (Animal)- "Wipe Out"   Jammin' James Jukebox selection of the week: Duane Eddy & The Rebels with The Rebelettes- "Your Baby's Gone Surfin'"   Marco Di Maggio- "Okyo Affair" The Other Timelines- "Public Access '66 Theme" Punk Fiction- "Jungle Boogie"   Outro music bed: Link Wray- "Apache"

Un año más confeccionamos una sesión de temas instrumentales, paradisíacos y evocadores, con melodías surferas seleccionadas desde nuestras valijas subterráneas. Se trata de un episodio sin palabras ni interrupciones, intentando transportarte con esta sesión de atardecer a una playa solitaria, tranquila y hermosa. Deja a un lado las preocupaciones. Hoy escapamos del Sótano. Hoy hay surf en la azotea. Relájate… y disfruta.Playlist;THE DENVERMEN “Quiet Beach” (1963)THE VIBRANTS “The breeze and I” (1963)RJ and THE RIOTS “Your summer dream” (1964)DUANE EDDY “The quiet three” (1959)THE MAJESTICS “Rip tide” (1962)THE SENTINALS “Sunset Beach” (1963)JOHNNY FORTUNE “Siboney” (1963)LEE HAZLEWOOD’S WOODCHUCKS “Quiet Village” (1964)THE CHARADES “In dreams” (2014)LOS STRAITJACKETS “Arizona sunset” (2001)THE BOSS MARTIANS “El Coyote” (2024)JON AND THE NIGHTRIDERS “Amor del mar” (1996)LAIKA AND THE COSMONAUTS “Enchanted rock” (1994)THE BLUE STINGRAYS “Blue Venus” (1997)LOS BLUE MARINOS “The last wave” (2014)THE ROUTES “Love you more” (2023)THE MANAKOORAS “Summer of the surf King” (2022)THE DEAD ROCKS “Maui’s sunset” (2005)THE AQUA BARONS “Unknown seas” (2020)FIFTY FOOT COMBO “Le dimanche matin” (2002)THE TEMPOMEN “Midnight on Pier 13” (196?)LINK WRAY “Don’t leave me” (1990)Escuchar audio

Welcome to the premiere "Song Dive" bonus episode: a way to hear the story behind a song that has made (or will soon make) our collective mixtapes & playlists! On this "Song Dive" episode, I am joined by Guy Fletcher of Dire Straits, and we're talking about the story behind Mark Knopfler's Guitar Heroes' “Going Home (Theme From Local Hero),” which Guy produced. This new 10-minute rendition was recorded in aid of Teenage Cancer Trust and Teen Cancer America, and features over 60 musical legends on the track.  We also take some time to discuss tracks from Dire Straits' catalog including: Money For Nothing, Walk Of Life, Heavy Fuel & The Bug; working with “Weird Al” Yankovic on his Dire Straits' parody “Money For Nothing / Beverly Hillbillies;” recording the soundtrack for The Princess Bride; the experience of mixing Dire Straits' "Live At The Rainbow, London UK, 12/1979" album from the original tapes; Guy's accreditation as a Dolby ATMOS engineer and how that factored into the new Going Home mix; bringing ATMOS to households via the Airsound Spatial speaker technology; and so much more!  The full list of artists who appear on “Going Home (Theme From Local Hero)” are (in alphabetical order): Joan Armatrading, Jeff Beck, Richard Bennett, Joe Bonamassa, Joe Brown, James Burton, Jonathan Cain, Paul Carrack, Eric Clapton, Ry Cooder, Jim Cox, Steve Cropper, Sheryl Crow, Danny Cummings, Roger Daltrey, Duane Eddy, Sam Fender, Guy Fletcher, Peter Frampton, Audley Freed, Vince Gill, David Gilmour, Buddy Guy, Keiji Haino, Tony Iommi, Joan Jett, John Jorgenson, Mark Knopfler, Sonny Landreth, Albert Lee, Greg Leisz, Alex Lifeson, Steve Lukather, Phil Manzanera, Dave Mason, Hank Marvin, Brian May, Robbie McIntosh, John McLaughlin, Tom Morello, Rick Nielsen, Orianthi, Brad Paisley, Nile Rodgers, Mike Rutherford, Joe Satriani, John Sebastian, Connor Selby, Slash, Bruce Springsteen, Ringo Starr and Zak Starkey, Sting, Andy Taylor, Susan Tedeschi and Derek Trucks, Ian Thomas, Pete Townshend, Keith Urban, Steve Vai, Waddy Wachtel, Joe Louis Walker, Joe Walsh, Ronnie Wood, Glenn Worf, & Zucchero. A minimum of 50% of the proceeds from the single are being donated to Teenage Cancer Trust and Teen Cancer America. To purchase the 12" vinyl, CD or digital edition of the single, please visit: https://www.markknopflersguitarheroes.com/ Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode, and join the My Weekly Mixtape Discord Server via the link on the main menu! FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

We take somewhat of a different programming route this week on Catching A Wave and salute The Beatles this hour in honor of Global Beatles Day on June 25th. It's celebrated on this day because the first ever global broadcast produced by the BBC. This special on the group beamed The Beatles performing "All You Need Is Love" on June 25th, 1967 to over 400 million people world wide. We hope to show the band's impact on a variety of genres and decades through the years. This hour, we hear a track from The Beatles from an album celebrating it's 60th anniversary in our Good Time segment. Beth Riley has a fab cover by The Beach Boys in her Surf's Up-Beth's Beach Boys Break. Our pals Dion and Joel Paterson go Head 2 Head later with their versions of a Beatles classic. We'll drop a coin in the Jammin' James Jukebox to hear an instrumental cover by The Ventures. Plus, there's covers by Cheap Trick, Chris Casello, George Martin, The Grip Weeds, Papa Doo Run Run, The Smithereens, Los Straitjackets, The Weeklings, Duane Eddy, The Midnight Callers, The Surf Dawgs, The Astronauts, Mick Beaulieu and a new solo track from Ringo Starr!   Intro music bed: "Catch A Wave"- The Beach Boys   Cheap Trick- "Good Morning Good Morning" Chris Casello- "She's A Woman" The Astronauts- "I'm Down" Mick Beaulieu- "Eleanor Rigby" The Grip Weeds- "It's Only Love" Papa Doo Run Run- "I Am The Walrus" (surf instrumental)   Good Time segment: The Beatles 60th anniversary of A Hard Day's Night The Beatles- "A Hard Day's Night"   The Weeklings- "I've Just Seen A Face" Duane Eddy- "Something"   Surf's Up- Beth's Beach Boys Break: The Beach Boys- "Tell Me Why" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Los Straitjackets- "I Feel Fine" The Smithereens- "Cry For A Shadow" The Surf Dawgs- "Please, Please Me" The Midnight Callers- "It Won't Be Long"   Head 2 Head: Joel Paterson- "Drive My Car" Dion- "Drive My Car"   Jammin' James Jukebox selection of the week: The Ventures- "Strawberry Fields Forever"   George Martin- "Good Day Sunshine" Ringo Starr- "Gonna Need Someone"   Outro music bed: Glen Campbell- "Ticket To Ride"

Picoteamos en las compilaciones Born Bad. editadas en los 80. Discos piratas que aglutinaron bandas y artistas de sonido cavernario, salvaje, afilado, lascivo y provocador, singles de los años 50 y primeros 60 que unos padres respetables no querrían que sus hijos e hijas escucharan. Grupos, artistas y canciones que sirvieron de caldo de cultivo para la música que décadas después hicieron los Cramps y otros pecadores del rock’n’roll.Playlist;(sintonía) THE FRANTICS “Werewolf”THE SHADES “Strollin’ after dark”JET POWERS “Go girl go”HERBIE DUNCAN “Hot lips baby”BUDDY LOVE “Heartbreak Hotel”SPARK PLUGS “Chicken”NAT COUTY and THE BRAVES “Woodpecker rock”BILL ALLEN and THE BACKBEATS “Please give me something”THE READYMEN “Shortnin’ Bread”THE FENDERMEN “Mule skinner blues”KIP TYLER and HIS FLIPS “Jungle hop”KAI RAY “I want some of that”CARL PERKINS “Her love rubbed off”DEL RANEY’S UMBRELLAS “Can your hossy do the dog?”THREE ACES and a JOKER “Booze party”MACY SKIPPER “Bop pills”SHORTY LONG “Devil with the blue dress on”LONNIE ALLEN “You’ll never change me”JACKIE LEE COCHRAN “Georgia Lee Brown”FREDDIE and THE HITCHHIKERS “Sinners”DUANE EDDY and THE REBELS “Girl in a death row”Escuchar audio

durée : 00:54:37 - Very Good Trip - par : Michka Assayas - Ce soir, on va éclairer la musique d'un maître oublié de la guitare, qui a été aux sources du rock'n'roll. - réalisé par : Stéphane Ronxin

It's almost summer but the tunes are already blazing hot this hour! Our "You're The Inspiration" segment returns with Alex Chilton and the Ramones covering Jan & Dean. Beth Riley has a solo track from Carl Wilson in her Surf's Up: Beth's Beach Boys Break. We've got a tune from an album by The Astronauts celebrating it's 60th anniversary in our Good Time segment. As always, we drop a coin in the Jammin' James Jukebox to hear our selection of the week (song by Henry Gross with Carl Wilson and Ricky Fataar on backing vocals). We kick off the hour paying tribute to Duane Eddy who passed away on April 30th and a classic from his 1st album. Plus, we've got tunes from Bloodshot Bill, Messer Chups, Magnatech, The Desolate Coast, The Whys, The Shadows, Los Dedos, Jeff Larson, God Of Surf, Kincaid & The Memetics, Cowabunghouls and Gary Usher!   Intro music bed: "Catch A Wave"- The Beach Boys   Remembering the late, great Duane Eddy (April 26, 1938-April 30, 2024): Duane Eddy- "Stalkin'"   The Shadows- "The Savage" Jeff Larson- "This Summer" Messer Chups- "Charade"   Good Time segment: The Astronauts 60th anniversary of Competition Coupe (1964) The Astronauts- "The Hearse"   God Of Surf- "Summer Stomp" Magnatech- "(Theme From) Exodus"   Surf's Up- Beth's Beach Boys Break: Carl Wilson- "The Grammy" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Bloodshot Bill- "Tres Tacos" The Desolate Coast- "Vanish From Vertigo Point"* Kincaid and The Memetics- "Alone Together"   You're The Inspiration segment: Jan & Dean- "Drag City" Alex Chilton- "New Girl In School" Ramones- "Surf City"   Jammin' James Jukebox selection of the week: Henry Gross- "One More Tomorrow" (feat. Carl Wilson & Ricky Fataar on BGV's)   Gary Usher- "Power Shift" The Whys- "Negative King"* Cowabunghouls- "Saint Lou Rougarou"   Outro music bed: Link Wray- "The Wild One"

Ready to relax and have some darkly delicious fun? The annual Dark Nation Radio GOTHIC BEACH PARTY can now be streamed! As in years past, this one plays fast and loose with genre, with the Beastie Boys and B-52s rubbing shoulders with Siouxsie and My Life With the Thrill Kill Kult while Gnarls Barkley and Karen O keep company with Adam Ant, Poison, and (of course) the Vampire Beach Babes—so turn it up and ride the wave

Crackly vinyl from: Duane Eddy, Fever Tree, The Boston Crabs,Terry Reid, Lynne Hughes,The Fabulous Flippers,Carla Thomas, Lowell Folsom,Sam Gopal, Pousette-Dart Bandand more!As broadcast via 6160kc sw6/1/2024

This week on The World’s Greatest Comic Book Podcast: We remember Duane Eddy, Alice Munro, and Morgan Spurlock. Diamond Comics is feeling the pinch. In Tinsel Town: Agatha gets an official title and release date for Disney+. The Munsters is getting another reboot. We have Starfleet Academy news! In Comics: a new series will explore […]

Rock N Roll Hall of Famer Guy Fletcher joins UAWIL in a very special episode where we talk the charity single he produced, his days in Dire Straits, on the road and in the studio with Mark Knopfler and more. Going Home has for decades been the theme song to the movie Local Hero, which Mark Knopfler of Dire Straits fame not only composed but was the tune with which he always closed his shows. When the idea of rerecording the song for the benefit of Teenage Cancer Trust (UK) and Teenage Cancer America came about, he jumped on board. And that spurred other legends to take part as well like Jeff Beck, David Gilmour, Duane Eddy, Steve Cropper, Peter Frampton, Bruce Springsteen, Pete Townshend, Ringo Starr, Sting and many, many more. Over 60 artists and legends participated and it was Guy's job to put it all together. We talk with him about putting this amazing charity single together and the cover which evokes Sgt. Peppers as it was done by the same artist, Sir Peter Blake. Guy also relayed some stories of his decades long career in Roxy Music, Dire Straits, working with Mark Knopfler on his many solo albums and tours and on working in a true gem of a recording studio, British Grove. Though Mark Knopfler was ready to walk away from the Straits in the 90s so he could have more freedom, he kept Guy around as Mr. Fletcher is in-sync with Mark's musical wavelengths and can assimilate the great amount of information that Mark creates. He served as Musical Director of Mark's solo band and shared some stories of life on the road with Mark. Guy is a brilliant producer who told us a bit about his high hopes for the future of Atmos mixing and what makes British Grove such a special place to record music. He even relates a story about Mark's desire to make an album with Jeff Beck which sadly never had the chance to materialize. It was a true honor and a lot of fun to welcome Guy Fletcher to The Wolf!! Watch and download Going Home - Guitar Heroes Version Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Rock N Roll Hall of Famer Guy Fletcher joins UAWIL in a very special episode where we talk the charity single he produced, his days in Dire Straits, on the road and in the studio with Mark Knopfler and more. Going Home has for decades been the theme song to the movie Local Hero, which Mark Knopfler of Dire Straits fame not only composed but was the tune with which he always closed his shows. When the idea of rerecording the song for the benefit of Teenage Cancer Trust (UK) and Teenage Cancer America came about, he jumped on board. And that spurred other legends to take part as well like Jeff Beck, David Gilmour, Duane Eddy, Steve Cropper, Peter Frampton, Bruce Springsteen, Pete Townshend, Ringo Starr, Sting and many, many more. Over 60 artists and legends participated and it was Guy's job to put it all together. We talk with him about putting this amazing charity single together and the cover which evokes Sgt. Peppers as it was done by the same artist, Sir Peter Blake. Guy also relayed some stories of his decades long career in Roxy Music, Dire Straits, working with Mark Knopfler on his many solo albums and tours and on working in a true gem of a recording studio, British Grove. Though Mark Knopfler was ready to walk away from the Straits in the 90s so he could have more freedom, he kept Guy around as Mr. Fletcher is in-sync with Mark's musical wavelengths and can assimilate the great amount of information that Mark creates. He served as Musical Director of Mark's solo band and shared some stories of life on the road with Mark. Guy is a brilliant producer who told us a bit about his high hopes for the future of Atmos mixing and what makes British Grove such a special place to record music. He even relates a story about Mark's desire to make an album with Jeff Beck which sadly never had the chance to materialize. It was a true honor and a lot of fun to welcome Guy Fletcher to The Wolf!! Watch and download Going Home - Guitar Heroes Version Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this bonus episode Greg adds a track to the Desert Island Jukebox in honor of Duane Eddy, one of the godfathers of electric guitar, who died in April.Get Exclusive NordVPN deal here → https://nordvpn.com/Soundops It's risk-free with Nord's 30-day money-back guarantee!Donate to Al Otro Lado Here: gum.fm/charityVolunteer with Al Otro Lado Here: alotrolado.org/volunteer---Become a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsJoin our Facebook Group: https://bit.ly/3sivr9TSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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Welcome to the premiere "Song Dive" bonus episode: a way to hear the story behind a song that has made (or will soon make) our collective mixtapes & playlists! On this "Song Dive" episode, I am joined by Guy Fletcher of Dire Straits, and we're talking about the story behind Mark Knopfler's Guitar Heroes' “Going Home (Theme From Local Hero),” which Guy produced. This new 10-minute rendition was recorded in aid of Teenage Cancer Trust and Teen Cancer America, and features over 60 musical legends on the track.  We also take some time to discuss tracks from Dire Straits' catalog including: Money For Nothing, Walk Of Life, Heavy Fuel & The Bug; working with “Weird Al” Yankovic on his Dire Straits' parody “Money For Nothing / Beverly Hillbillies;” recording the soundtrack for The Princess Bride; the experience of mixing Dire Straits' "Live At The Rainbow, London UK, 12/1979" album from the original tapes; Guy's accreditation as a Dolby ATMOS engineer and how that factored into the new Going Home mix; bringing ATMOS to households via the Airsound Spatial speaker technology; and so much more!  The full list of artists who appear on “Going Home (Theme From Local Hero)” are (in alphabetical order): Joan Armatrading, Jeff Beck, Richard Bennett, Joe Bonamassa, Joe Brown, James Burton, Jonathan Cain, Paul Carrack, Eric Clapton, Ry Cooder, Jim Cox, Steve Cropper, Sheryl Crow, Danny Cummings, Roger Daltrey, Duane Eddy, Sam Fender, Guy Fletcher, Peter Frampton, Audley Freed, Vince Gill, David Gilmour, Buddy Guy, Keiji Haino, Tony Iommi, Joan Jett, John Jorgenson, Mark Knopfler, Sonny Landreth, Albert Lee, Greg Leisz, Alex Lifeson, Steve Lukather, Phil Manzanera, Dave Mason, Hank Marvin, Brian May, Robbie McIntosh, John McLaughlin, Tom Morello, Rick Nielsen, Orianthi, Brad Paisley, Nile Rodgers, Mike Rutherford, Joe Satriani, John Sebastian, Connor Selby, Slash, Bruce Springsteen, Ringo Starr and Zak Starkey, Sting, Andy Taylor, Susan Tedeschi and Derek Trucks, Ian Thomas, Pete Townshend, Keith Urban, Steve Vai, Waddy Wachtel, Joe Louis Walker, Joe Walsh, Ronnie Wood, Glenn Worf, & Zucchero. A minimum of 50% of the proceeds from the single are being donated to Teenage Cancer Trust and Teen Cancer America. To purchase the 12" vinyl, CD or digital edition of the single, please visit: https://www.markknopflersguitarheroes.com/ Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode, and join the My Weekly Mixtape Discord Server to join in the musical discussions: https://discord.gg/hhDQAnXasm FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Discord: https://discord.gg/hhDQAnXasm Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

We remember painter and sculptor Frank Stella, whose early work was considered revolutionary. He died last week at age 87. Stella became famous and controversial in the 1950s for his "black paintings," which were a stark contrast to the abstract expressionism of the time, and made him one of the fathers of minimalism. Later, we'll feature an interview with one of the most influential early rock and roll guitarists, Duane Eddy. He also died last week. Book critic Maureen Corrigan reviews Long Island, Colm Tóibín's new sequel to his bestselling novel Brooklyn. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

We start with another News with Nick. UMG returns to TikTok, FKA Twig eloquently requests exclusive control of her own AI deepfake in Congressional testimony, and the New York Times explains the current legal definition of a song.Song: Vampire Weekend - “Classical”Greg digs deep into the current beef with Kendrick Lamar & Drake, which escalated considerably in the last week and a half. How did we get here? That's what we dig into this week on another Hot Topical.Songs:Kendrick Lamar - “King Kunta”Big Sean - “Control”Finally, Jay remembers the career and influence of Duane Eddy, who passed last week at the age of 86. Voted most influential music personality in the world in 1960 by NME, Eddy was a major influence on the artists that comprised the British Invasion. His signature twangy sound can be heard in films by David Lynch, Quentin Tarantino, Oliver Stone, and Robert Zemeckis. He inspired and influenced generations of artists and he will be missed.SongsDuane Eddy - “Rebel Rouser”Duane Eddy - “Stalkin”

Duane Eddy, rey del twang, el guitarrista más exitoso e influyente del rocknroll instrumental. Fallecido el 30 de abril a los 86 años de edad, picoteamos en el legado de sus años dorados -de 1958 a 1964- recordando grandes clásicos y alguna joyita olvidada.Playlist;(sintonía) DUANE EDDY “Detour”DUANE EDDY “The rebel rouser”DUANE EDDY “Ramrod”DUANE EDDY “The walker”DUANE EDDY “Movin’ and groovin’”DUANE EDDY “Stalkin”DUANE EDDY “Peter Gunn”DUANE EDDY “The lonely one”DUANE EDDY “Because they are young”DUANE EDDY “Ring of fire”DUANE EDDY “Blueberry Hill”DUANE EDDY “Rebel walk”DUANE EDDY “The Avengers”DUANE EDDY “Yep!”DUANE EDDY “Saints and sinners”DUANE EDDY “Easy”DUANE EDDY “Lost island”DUANE EDDY “The Trembler”THE SHARPS “Have love will travel”LEE HAZLEEWOOD “Girl on death row”DUANE EDDY “(Dance with the) Guitar man”THE KEYMEN featuring DUANE EDDY “Duane’s stroll”Escuchar audio

Six String Hayride Classic Country Podcast Episode 39. The 1940's Episode. We pay our respects to the recently departed Dickey Betts and Duane Eddy, then it's back in the time machine for the 1940s. Gene Autry, Sons of the Pioneers, and Bob Wills continue to dominate music. Rose Maddox ups the ante for Western Fashion. Franklin Roosevelt guides a nation through World War 2 with help from Rosie the Riveter. James Cagney, Cary Grant, Katharine Hepburn, Bogart and Bacall entertain us on the big screen. Jackie Robinson plays some Baseball. Chris and Jim discuss The Big Songs of the Decade, The War, and The Movies that shaped the 1940's. Chris serves up some SPAM MUSUBI and another John Wayne Cocktail and we explain our love for the music of the Andrew Sisters. In 1947, Hank Williams arrives as the Honky Tonk Poet of the Post War Years. All this and the usual shenanigans with Chris and Jim.

It wouldn’t be a Steve and Johnnie Show without talk of food, tech and old school jams. In addition to your weekly dose of laughter, this show also serves to remember a close friend. Mike Himebaugh, vocalist of Hello Dave, stops by to talk about the Farm Raiser in Rosemont on Friday, May 10th. We […]

This week's show, after a ELO elegy: brand new Redd Kross, Michael Head, Torrey, Kelley Stoltz La Luz, Idaho, and Decemberists, plus Rolling Stones, Lloyd Price, Todd Rundgren, Kinks, Neil Young, Delroy Wilson, and Bonnie Guitar; and R.I.P. Duane Eddy ...

Duane Eddy. Spring Has Sprung. Morons in the News.   The People's Movie Critic: “Abigail” Everyone Needs a Laugh.   Talkback Callers. Can You Believe This S***? Tooth Drilled into Brain.   The Zippy Zodiac. From the Vault.See omnystudio.com/listener for privacy information.

This week, Johnny talked us through a gargantuan Freudian slip, and the team took a deepdive into Double Textgate – The Scandal That Rocked Radio.Hear Johnny on Radio X every weekday at 4pm across the UK on digital radio, 104.9 FM in London, 97.7 FM in Manchester, on your mobile or via www.radiox.co.uk

Dave makes the mistake of exploring his attic. This was followed by serious thigh muscle pain 24 hours later. Don't do this.Del battles the helpline...again.  Did he win? What do you think?Watch the music video, Dumb Ways to Die.  You'll like it. Thanks, Valentin!Bucks  ponders space junk, crosswords, google, wordle, and nosy neighbors.Florida imports snakes while Pennsylvania man loses his emotional support gator. Bye bye to Duane Eddy and his twangy guitar. Del would rather lead a band.Give us your thoughts: BUCKSTWOOLD@GMAIL.COM Find us on FacebookLeave a Voice message - click HEREWHAT ARE YOU GOING TO DO WITH THE REST OF YOUR LIFE?

Cada viernes, en Territorio comanche, cerramos la semana de Julia en la Onda con la mejor banda sonora con Máximo Pradera, Santiago Segurola, Miqui Otero y Nuria Torreblanca. Hablamos del Nueva York de Vampire Weekend y Paul Auster; de Henry Mancini, de la historia de Hispavox, de Duane Eddy y de películas de amor torcido con el director Daniel Monzón. 

Hundreds of officers fire flares and stun grenades on protesters. Also: the EU announces a billion dollar package for Lebanon; and the American 'King of Twang' guitarist Duane Eddy dies at 86.

On today's THE RALPH REPORT: What are the TEN THINGS that make you "good in bed"? RIP to guitar legend, DUANE EDDY! And, meet the official mascot of THE RALPH REPORT! SUBSCRIBE: www.patreon.com/theralphreport

I'm preparing to release Season 8 starting very soon, but in the meantime, the great Duane Eddy passed away earlier this week and I have decided to re-release our conversation from 2016. That was a 2-part episiode, but I've combined them here into one so you can spend a couple hours with Duane and I chewin' the fat. RIP Duane Eddy!! Become a member at https://plus.acast.com/s/mmasspodcast. Hosted on Acast. See acast.com/privacy for more information.

This week we look at the NHS sees sense over Trans; THe NYT doesn't; Misgendering pets; Lord Winston banned on TikTok;  Resignation of Humza Yousaf and persecution of Kate Forbes; Indian Council's Incredible Letter; Tracy Ullman; Frank Field; Domestic Violence in Australia; Pausing Biden; Seinfield on unfunny comedy; Cicadia one in a 200 year event; SEEK 33- Art; Rico Tice leaves the Church of England; Russell Brand gets baptised; with music from Del Amitri, Bach, Lindisfarne, Duane Eddy, 10CC; Vivaldi; and Handal 

Harvey Keitel stars in The Tattooist of Auschwitz - a six-part Sky Atlantic series based on the best-selling novel by Heather Morris, inspired by the real-life story of Holocaust prisoners Lali and Gita Sokolov. Marc Quinn's exhibition Light into Life is at Kew Gardens from Saturday (4th May) until Sunday 29 September 2024.The Fall Guy, directed by David Leitch, stars Ryan Gosling as a stuntman and Emily Blunt as his film director ex who entices him out of retirement.All three are reviewed by Naomi Alderman and Jason Solomons.And producer Trevor Horn assesses the legacy of guitarist Duane Eddy whose death was announced yesterday. Presenter: Tom Sutcliffe Producer: Torquil MacLeod

 In Other News with Ethan: Duane Eddy and Richard Tandy passed away, Dan Schneider suing over 'Quiet on the Set' and AZ Bee Keeper gets Baseball Card

Steve and Johnnie remember the frequent guest, friend and Rock and Roll Hall of Famer.

AP correspondent Margie Szaroleta reports on the death of guitarist Duane Eddy.

Rick Vito Live on Game Changers with Vicki Abelson What a lovely way to spend a sunny afternoon. Grammy-nominated guitarist, singer, and producer, Rick Vito, probably best known as a member of Fleetwood Mac, was a sunny delight, hisself. Coming to us Live from Franklin TN, following the release of his recently dropped latest album, Cadillac Man, we wiled away the hour talking his tastes… The Stones, Duane Eddy, BB King, his passions, Jimi Hendrix, Peter Green, his custom guitars, and his history… a 41-year marriage, two great kids, starting out with Delaney and Bonnie and Eric Clapton, what a story there! Moving to LA, crashing with Todd Rundgren, Something/Anything? Could I have played that album more freshman year? John Prine's Common Sense… oh please! An all-time favorite! Bonnie Raitt, Jackson Browne, with our friends Russ Kunkel and Kootch, Bob Seger, and that idea of Rick's to play slide on Like a Rock, a tasty choice that would become an iconic anthem for Chevrolet and a generation. A great story about meeting John Fogerty, playing with Leon Russell, touring with Tina Turner, picking it up with Mick in the Mick Fleetwood Blues Band with Rick Vito, and getting nominated for a Grammy, and the last great show before the pandemic alongside Christine McVie (in her final performance), Billy Gibbons, Pete Townsend, David Gilmour, Bill Wyman, John Mayall, and a host of other musical luminaries in Mick Fleetwood & Friends Celebrate the Music of Peter Green concert filmed in London in 2020. We were treated to a glimpse of one of Rick Vito's Soul Agent Signature Custom Designed Art Deco Guitars which is available from Reverend Guitars. This pink beauty with black and white piping, Rick designed to have attributes of a Gibson, a Fender, and a Gretch. Rick's new album, Cadillac Man, is available now and has been on heavy rotation in the Snicki Mobile. I'm just loving it. A lotta rock n roll, heavy on the R & B. You can get yours here: https://www.rickvito.com It's easy to see why Rick's been in demand by so many diverse and stellar artists. He's a stunning talent, who plays from his soul, leaving space between the notes, and warmth within his smile. I can't wait to hear and see more! Rick Vito Live on Game Changers with Vicki Abelson Wednesday, April 10th * SPECIAL TIME1 PM PT, 4 PM ET* Streamed Live on my Facebook Reply here: https://bit.ly/3vMHQuv

Islas perdidas, islas del tesoro, islas de ensueño. Ponemos banda sonora a un retiro isleño, entre olas y cocoteros, rodeados por el mar y bañados por el sol.Playlist;(sintonía) THE ISLANDERS “Paradise lost”DUANE EDDY “Lost island”THE KINKS “I’m on an island”THE BEACH BOYS “Let’s go away for a while”THE MILLENIUM “The island”THE UPSETTERS “Dreamland (My dream island)”BYRON LEE and THE DRAGONAIRES “Green island”THE PARAGONS “Island in the sun”PIERRE OMER’S SWING REVUE “Coconut island”LOUIS ARMSTRONG “On treasure island”NATHANIEL MAYER “My lonely island”THE SPLENDORS “An island called romance”THE SHEPPARDS “Island of love”CAT POWER “Islands”JOE STRUMMER “Island hoping”JOEY RAMONE “You make me tremble”FRANK SINATRA “Bali Hai”MARTIN DENNY “Forbidden island”THE COUNTS “Surfer’s Paradise”THE TROGGS “I’ll buy you an island”Escuchar audio

Steve Howe talks to us from the old house and studio in Devon where they rehearsed ‘The Yes Album' in 1970. He's been recording there for 54 years and is part of the current line-up about to set out around Europe. He looks back here on what he's learnt from 60 years onstage and mentions …   … the effect of seeing Chuck Berry, Carl Perkins and The Animals in 1964. … playing old Shadows tunes at the Barnsbury Boys School in Holloway, aged 14. … how Yes songs evolved and the cover versions they used to play (America by Paul Simon, Something's Coming from West Side Story). … “the dark 1968 that followed the rainbow 1967”. ... Duane Eddy, Hank Marvin, Chet Atkins, Alison Krauss and the Big Three. … how Sgt Pepper – and blues, jazz and classical music - lit prog's blue touchpaper. … the value of “homework” and the hours of painstaking rehearsal that allowed them to play Fragile onstage. … how Iron Butterfly helped transform the Yes stage show. … Starship Trooper, Roundabout and other songs they're guaranteed to play. … old memories of Anderson Bruford Wakeman Howe. … and the road ahead: “I'll keep going while I can still do the twiddly bits”. Yes tour dates: https://www.yesworld.com/Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Hear The Beach Boys song that was an inspiration behind a Genesis classic in this week's You're The Inspiration segment. Beth Riley also has a deep track from The Beach Boys in her Surf's Up: Beth's Beach Boys Break. There's a track from an album by Duane Eddy celebrating it's 60th anniversary in our Good Time segment and we drop a coin in the Jammin' James Jukebox to hear our selection of the week. Plus, there's songs from Mr, Splice Guy, The Seismics, The Balboas, Satan's Pilgrims, The Surfers, Real Estate, Little Kahuna, Sam Evian, Ultrasonic Grand Prix, Los Abismos, Intoxicos, Manic Vila and The Bahareebas!     Intro music bed: "Catch A Wave"- The Beach Boys   The Seismics- "The After After After Party" Intoxicos- "Dag Party" Ultrasonic Grand Prix- "Instafuzz" The Surfers- "Misirlou" Real Estate- "Water Underground"   Good Time segment: Duane Eddy 60th anniversary of Water Skiing (1964 RCA) Duane Eddy- "Jumping The Wake"   Los Abismos- "That Surf Thing" Little Kahuna- "Flying Coffin"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "The Girl From New York City" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Sam Evian- "Wild Days" Satan's Pilgrims- "Crying In A Storm" Manic Vila- "Set Ways" The Bahareebas- "Confrontation Part II"   You're The Inspiration segment: The Beach Boys- "Sail On, Sailor" Genesis- "Misunderstanding"   Jammin' James Jukebox selection of the week: The Rock-A-Teens- "Woo Hoo"   Mr. Splice Guy- "The Day My Baby Gave Me A Surprise" The Balboas- "Attack Of The Fire Ants"   Outro music bed: Link Wray- "The Wild One"      

Whole lotta shakin' goin' on with this episode of Catching A Wave (including this new single from The Courettes)! We hear a track from an album by The Rip Chords celebrating it's 60th anniversary in our Good Time segment. Beth Riley has a deep track from The Beach Boys in her Surf's Up: Beth's Beach Boys Break. JD McPherson and Man Or Astro-Man? go Head 2 Head with their cover of a track by the Pixies. There's a couple of covers by Kris Bone and Abyssal Lurkers for you lovebirds for Valentines Day. We also pay tribute to the late, great Larry Collins who unfortunately passed away on January 5th at 79 years old. We also drop a coin in the Jammin' James Jukebox to hear our selection of the week (Duane Eddy covering Bob Dylan)! Plus, we have tunes from Black Flamingos, The Rumtones, pär, The Weeklings, The Breakers, Johnny's Uncalled Four, The Isotopes, The Masonics, Pozor Vlak and Kickstands!   Intro music bed: "Catch A Wave"- The Beach Boys   The Rumtones- "Jetty Banger" Johnny's Uncalled Four- "Bulldog" The Courettes- "Shake" Black Flamingos- "Septima Patrulla" The Isotopes- "Volcano Bungee Jump"   Good Time segment: The Rip Chords 60th anniversary of Three Window Coupe (1964 Columbia Records) The Rip Chords- "Hot Rod USA"   Valentines corner: Abyssal Lurkers- "Cupid" Kris Bone- "Loving You"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Why Don't They Let Us Fall In Love" Follow "Surf's Up: Beth's Beach Boys Break" HERE   The Breakers- "Internal Sun"   RIP Larry Collins (October 4, 1944-January 5, 2024) Larry Collins- "The Rebel-Johnny Yuma"   The Masonics- "Big Bad Goblin" Pozor Vlak- "Surf Me An Angel"   Head 2 Head: JD McPherson- "Manta Ray" Man Or Astro-Man?- "Manta Ray"   Jammin' James Jukebox selection of the week: Duane Eddy- "Don't Think Twice"   Kickstands- "Hill Climb" pär- "The Space Walk" The Weeklings- "Like We Used To Do"   Outro music bed: Link Wray- "The Wild One"

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.