Podcasts about dylanesque

It's time for a new innovation on Stuffology this episode as Andrew and JG are... unplugged? Live? Something like that. Anyway, rather than the usual two-tin-cans-and-a-bit-of-string approach to recording over the internet, this time they're both in the same actual room! How exciting? And the episode they're discussing? Slightly ironically, You've Got To Hide Your Love Away. Does the song stand up to the usual Dylanesque comparisons? Is there a meaningful advancement in the quality of Lennon's lyrics? And does the song deserve its mighty reputation?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

Operating on a relaxed schedule, playing a show by the river, and a collection of scattered tracks. Lucas Fitzsimons (The CUSP, The Molochs) "The CUSP, a change, a prophecy, a realization that what once was will soon be no more. For Los Angeles' Lucas Fitzsimons, The CUSP is not just apropos new solo project but a new creative beginning. Disillusioned and stymied by his former band The Molochs, Fitzsimons felt chewed up and spit out by a vague but all too familiar enemy. From Primavera Sound to pushin' popcorn at a local theatre, lost inspiration and a confused mind became good fodder for change. As Fitzsimons recalls, “It took a while to admit I didn't want to do my old band anymore. I just didn't wanna do it. After nearly a decade with the Molochs, I couldn't imagine starting something new without it seeming like some sort of desperate attempt to stay afloat. It was undeniable, though, and I had, I HAVE, no choice. A little part of me had to die in order for the Cusp to be born. Whatever died made room for something new.” Fitzsimons found new inspiration in the off kilter poetry-like lyrics of Happy Mondays' Shaun Ryder, The DIY philosophy of Nipsey Hussle and Tommy Wright III, the bass heavy dub productions of King Tubby and Adrian Sherwood, and the psyched out rhymes of P-Funk. “I started hearing something different in music… the Dylanesque wordiness was shoved away by bass lines, by groovy drum beats, by sparse (yet eloquent) lyrics. I found a sub bass had more to say to me than heady lyrical verses.”" Excerpt from https://thecuspofficial.bandcamp.com/track/gum-2 The CUSP: Instagram: @luquilasoda Bandcamp: https://thecuspofficial.bandcamp.com The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/channel/UCSn17dSz8kST_j_EH00O4MQ/videos

John Yoo assumes the host chair for this week's episode, and despite declaring this week to be a Ukraine-Free Zone, Lucretia still manages to get in a sequel to some of last week's discussion threads. But the main event for the first third of this episode is reviewing the dreadful events in Memphis last week, though John has to go a stretch to reach the Dylanesque heights of “Memphis Blues Again”... Source

John Yoo assumes the host chair for this week’s episode, and despite declaring this week to be a Ukraine-Free Zone, Lucretia still manages to get in a sequel to some of last week’s discussion threads. But the main event for the first third of this episode is reviewing the dreadful events in Memphis last week, though John has to go a stretch to reach the Dylanesque heights of “Memphis Blues Again”... Source

Deep memory banks, green juice, and being a working lad. Lucas Fitzsimons (The CUSP, The Molochs) "The CUSP, a change, a prophecy, a realization that what once was will soon be no more. For Los Angeles' Lucas Fitzsimons, The CUSP is not just apropos new solo project but a new creative beginning. Disillusioned and stymied by his former band The Molochs, Fitzsimons felt chewed up and spit out by a vague but all too familiar enemy. From Primavera Sound to pushin' popcorn at a local theatre, lost inspiration and a confused mind became good fodder for change. As Fitzsimons recalls, “It took a while to admit I didn't want to do my old band anymore. I just didn't wanna do it. After nearly a decade with the Molochs, I couldn't imagine starting something new without it seeming like some sort of desperate attempt to stay afloat. It was undeniable, though, and I had, I HAVE, no choice. A little part of me had to die in order for the Cusp to be born. Whatever died made room for something new.” Fitzsimons found new inspiration in the off kilter poetry-like lyrics of Happy Mondays' Shaun Ryder, The DIY philosophy of Nipsey Hussle and Tommy Wright III, the bass heavy dub productions of King Tubby and Adrian Sherwood, and the psyched out rhymes of P-Funk. “I started hearing something different in music… the Dylanesque wordiness was shoved away by bass lines, by groovy drum beats, by sparse (yet eloquent) lyrics. I found a sub bass had more to say to me than heady lyrical verses.”" Excerpt from https://thecuspofficial.bandcamp.com/track/gum-2 The CUSP: Instagram: @luquilasoda Bandcamp: https://thecuspofficial.bandcamp.com The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/channel/UCSn17dSz8kST_j_EH00O4MQ/videos

Henry Kapono Kaʻaihue is a giant in Hawaiʻi, his music was on the leading edge of the Hawaiian Renaissance of the 1970ʻs. He opened the door for contemporary local music in the 1970's. With partner, Cecilio Rodrigues, C&K provided the soundtrack for an era. The music still conjures good times in Hawaiʻi for generations of people. I am not licensed to play the music on this podcast, but here's a link to a broadcast of this interview on Hawai'i Public Radio. I was able to incorporate some music in that version so it's fun! Not full songs though, due to time constraints. Mahalo, HPR! It was easy connecting through his wife and partner, Lezlee. Theyʻve got twins, teenagers now at Punahou. Such a pleasure to look at the work. In the C&K discography, Henry's songs were Friends, Song for Someone, Sunflower, oh heavens, they just let it be beautiful. Highway in the Sun, so many. Henry's all about forward momentum. His website, Henry's House is a fountain of positivity. He has an artist-to-artist program starting this fall. In this interview, Henry recalls how the Hawaiʻi diaspora saved a gig in Palo Alto, and how that led to their Columbia contract. Frank Zappa figures in a great story about how C&K first broke in Honolulu. Over the pandemic, Henry released an acoustic version of his Dylanesque rocker, One Man. One Man 2020 shows that all Henry's positivity is a choice. Because in 2022, our eyes are open, we see cruelty, we see suffering, and we see the grind that makes us so unhappy with ourselves and each other. I worry about the pressure on people who choose to live in Hawaiʻi. We have a lot in common, just committing to live here. Henry's music is a heartful connector. Dive into the C&K discography for a fun Aloha Friday happy hour, my friends, or dust off that black vinyl. These really are the good times together. Hawaiʻi Public Radio Aloha Friday Conversation with Henry Kapono of C&K, Kirk Thompson of Kalapana, and Starr Kalahiki of the Liliʻuokalani Project

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Steve Miller. Steve is a veteran journalist and a reporter at RealClearInvestigations. He's also the author of Detroit Rock City: The Uncensored History of Rock 'n' Roll in America's Loudest City. Steve's Music Pick: Mott The HoopleDo you remember the Saturday gigs? We do, we do! Mott The Hoople are known outside of specialist rock audiences these days either as "one of those weird bands from That Weird Era with one of those memorably weird names" or as a putative 'one-hit wonder' performing a song most people associate with David Bowie. So that's where you're wrong, kiddo. Mott The Hoople was a band that managed to set Britain (and particularly London) afire during the early Seventies, even as they consistently eluded chart success. They were brought together by famed rock & roll madman/record-jobber/A&R man/heavy drinker Guy Stevens, who realized his dream of creating a band that sounded like both The Rolling Stones AND Bob Dylan simultaneously by pairing a chubby Dylanesque vocalist/pianist (Ian Hunter, hiding his insecurity behind enormous shades) with a workaday gigging band that hailed from within spitting distance of the Welsh border (the Doc Thomas Group, with Mick Ralphs).  From that fusion came Mott The Hoople, and their 1969 self-titled debut album. The pure rock & roll energy -- gruff, with zero pretensions, utterly available to the fans and the audience, yet strangely literate and aspirational as well -- was there from day one. The only question was whether Mott could ever properly harness it in the studio. The gang argues that they actually did quite a good job during their pre-Bowie years (especially on Brain Capers, an album of such loopily memorable hard-rock ferocity that it must be heard to be believed), but the record-buying public certainly didn't agree.Which is where David Bowie stepped in, rushing to save the band after they'd announced their own dissolution in the UK music press. His song "All The Young Dudes" became their most famous number, and yet on this episode everyone is at pains to argue that neither the song nor its namesake album are the real highlight of Mott's career. So let us explain to you how a band you've more or less never heard of recorded one of the greatest albums of the entire decade after their involvement with David Bowie as we sing you the ballad of Mott The Hoople. And if it seems we've lost just a little bit on the journey, then please treat us kindly. 

Mestizo Sound is delighted to put a special tribute to one of his musical heroes. A personal homage for today (May 24) 81 years old birthday of Bob Dylan Under the name 'How Many Roads' is a selection of songs in tribute to the greatest musician-poet alive, Bob Dylan. After being inspired by the excellent shows by Balance and Misty Mellow Mix on their music heroes, I put my mind to this set for one of mine. This mix includes some of my favourite Dylan Covers, free adaptions of his songs, music by artists associated with Dylan and other songwriters' music that have a Dylanesque touch in the track chosen even though they are not Dylan compositions. 1- Tristezas del Blues Nostálgico y Subterráneo - GECKO TURNER (2003) 2- All Along the Watchtower (Bob Dylan) - BARBARA KEITH (1972) 3- In my Garage (K. Fowley/D. Diamond) - KIM FOWLEY (1977) 4- Tombstone Blues - HENRY KAISER'S OBSEQUIOUS CHEESELOG (1993) 5- Tears of Rage (Bob Dylan/Richard Manuel) - Jimi Hendrix (recorded in 1968) 6- The Sing (Bill Callahan) - BILL CALLAHAN (included in his album Dream River 2013) 7- Release the Dub - KING TUBBY'S AND THE AGGROVATORS.  8- I Love You More Than You'll ever Know (A. Kooper) - BLOOD, SWEAT AND TEARS (1968 ) 9- You Are Going to Make Me Lonesome (B. Dylan) - MADELEYNE PEYROUX (2004) i 10- How Did The Feeling Feel To You (Tim Harding) - KAREN DALTON (1969) i 11- Hurricane (B. Dylan) - MILLTOWN BROTHERS (1993) 12- If You Gotta Go, Go Now (B. Dylan) - TOP MODELS (2003) 13- Come Una Pietra Scalciata -ARTICOLO 31 (1998) 14- With Good on Our Side (B. Dylan)- K'NAAN (2012) 15- Tangled Up in Blue (B. Dylan) - BOB DYLAN (demo recorded in 1974) 16- The Times They Are A Changin' (B. Dylan) - THE BROTHERS AND SISTERS (1969)

Wack-ass trivia in Q+A form, someone might call "Dylanesque" with the sublime nectar of the BVM's infinite glory.

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I Got You Babe" by Sonny and Cher. 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/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

🔴 #Fitz46 46 Cromosomas, 46 el número de Valentino Rossi , 46 gramos pesa una pelota golf. Domingo de resurrección desde Oxford. Aunque nosotros no estamos muy a favor de la resurrección. Resurrección No, otra vez, no. Semana de recogimiento y oración, la procesión va por dentro mientras esperamos por la vacuna. Comenzamos la selección musical con Bryan Ferry y, un auténtico dandy de la música, compartimos “Just Like Tom Thumb's Blues” una canción de su disco de 2007, Dylanesque, un disco de versiones de Bob Dylan, a las que el exlíder de Roxy Music imprime su estilo personal con toques crooner. Continuamos con Verde Prato, el proyecto en solitario de la pintora y música Ana Arsuaga, también componente de los grupos Serpiente y Mazmorra. Presenta temas minimalistas a partir de un teclado y su voz, a menudo inspirados en la tradición de folklore local vasco, explorando la unión entre la melodía y las palabras a través del canto. Canta en euskera, en castellano y en ruso. De su disco de debut “Kondaira Eder hura” ponemos la canción, “Neskaren Kanta”. Nos vamos al mundo del Jazz con la pianista Christina Galisatus que recién estrena cuarteto, con su segundo tema “Who”, nos recuerda que el jazz también puede ser una música luminosa, como cuenta la autora, es como si nos alcanzara una avalancha de recuerdos que se han difuminado, en la que disfrutas rememorando a la vez que luchas por recordar más. Dark Horse Records publicó el pasado 26 de marzo, “Assembly”, una recopilación de las grandes canciones de Joe Strummer, líder de The Clash y eterno icono del punk. En esta nueva recopilación se presentan sus mejores temas, los más aclamados por sus seguidores y rarezas guardadas entre sus archivos personales. Entre ellos “Coma Girl” que formo parte de “Streetcore”, el tercer álbum de Joe con The Mescaleros. El álbum fue completado después de la muerte de Joe el 22 de diciembre de 2002. Lo siguiente en sonar será la banda de garaje The Black Lips , originarios de Atlanta llevan activos desde 1999, y poseen una larga trayectoria musical y una cierta fama por excesos y contundencia en el directo, disfrutamos de “Get It on Time” un tema de su álbum de 2020, “Sing In A World That's Falling Apart”, Mdou Moctar, uno de los héroes del programa, comparte nueva canción "Afrique Victime", otro adelanto de su disco de mismo titulo que sale el próximo 21 de mayo a través de sello Matador Records . 'Afrique Victime' es una denuncia de los crímenes y abusos que se han cometido y se comenten en África por parte de los países occidentales, para apoderarse de su riqueza y recursos naturales. Moctar canaliza esa furia y determinación en un solo de guitarra apasionante. 48,15 ▶ Hoy toca hablar de “El agente topo”, un documental atípico dirigido por Maite Alberdi y protagonizado por Sergio Chamy. Una cinta narrada con sensibilidad y humor. Alberdi ha desdibujado aún más si cabe las débiles fronteras entre la ficción y la no ficción. La película acompaña a Sergio Chemy, un hombre de 83 años al que un detective recluta para infiltrarse en una residencia de ancianos. Su misión: informar a la mujer que ha contratado los servicios de la agencia de la situación de su madre, residente en el geriátrico. ¿Es una comedia? ¿Una ficción? El espectador se asienta en la película cuando empieza a mostrar la realidad de la residencia y la soledad de sus habitantes.

Gene and Dean Ween are the best songwriting duo since Jagger and Richards, or Lennon and McCartney, or maybe it's Rogers and Hammerstein. You get the point. They are geniuses. Their canon features hundreds and hundreds of songs played to perfection in every genre. Sometimes these songs are drenched in feedback or feature pitch-adjusted vocals. Other times they play Dylanesque odes to former lovers that are a delicate as an orchid. There are songs about golden eels and children born without eyes. They have half a dozen songs about equine friends. They are as adept at speed-freak metal as they are Irish drinking songs. They even did a full country album. Deaner can wow you with his virtuosity on guitar and Gener could get a four-chair turn on The Voice. Ween can do it all.There is really no sampling of Ween that could give you an adequate understanding of what they are capable of. Nonetheless, here are a bakers' dozen of songs to whet your appetite:"Birthday Boy" from God, Ween, Satan: The Oneness"Dr. Rock" from The Pod"Push th' Little Daisies" and "The Stallion (pt 3)" from Pure Guava"Take Me Away," "Baby Bitch," "Buenas Tardes, Amigo," and "What Deaner Was Talking About" from Chocolate & Cheese"Piss Up a Rope" from 12 Golden Country Greats"The Golden Eel" and "Buckingham Green" from The Mollusk"Stay Forever" from White Pepper"Your Party" from La CucharachaOr you can dive in just about anywhere. The full albums Chocolate & Cheese, The Mollusk, and White Pepper  are the most accessible and consistently great albums, while the others get a little brown. Ween also has tons of "unreleased" music and their concerts are epic.Support the show (https://teespring.com/stores/the-new-dad-rock)

Hour 2 of A&G features Willie Brown's comments on his relationship with Kamala Harris, bringing back college football, some outstanding flip-flopping and Carbi B's new song is not Dylanesque!

Laura Meyer (MFA 2021, Writing) dreamed of being the first female in Tom Petty & The Heartbreakers. After touring internationally under the stage name Cygne for more than a decade, she wearied of the road, and decided to make a change. Laura tells us the story of her Dylanesque origins, the ecstasy and desolation of the road, and what you do when you're at risk of outliving your dream. Laura's songs in this episode (check out Cygne on Spotify): "Scars," from Passenger (2015) "Miracles" and "All Roads" from Let it Breathe (Softly) (2017)

Philadelphia based singer-songwriter Barney Cortez continues a string of self-released demos, singles and videos with his latest EP "Pretty Thin.” The album totes an impressive mix of Dylanesque lyricism, Prince balladry and the urgency of Frank Black's Rock n Roll. With his latest single “The Big Swirl,” Cortez will entice your ears once again. Elements of New Wave, Alternative and Punk flow throughout Cortez’s songs which showcases his talents as both a songwriter and performer. For fans of Elvis Costello, Beck, Broncho and Cass McCombs,  Barney Cortez will quickly become a new musical obsession. A former  member of Nicos Gun, and LA based group The Rituals, Barney wrapped up a 3 week tour recently opening for ATO recording artist Rayland Baxter in Europe. He is also a member of psych-rock band The Rich Mystics with Nick Bockrath, of Cage The Elephant. He has recorded and played for artist's such as The Roots, Wiz Khalifa and Melody Gardot among others.  

BRUCE SPRINGSTEEN & THE E STREET BAND: “10th Avenue Freeze-Out (Ballad Version)” Bruce Springsteen has always been at ease changing up the recorded version of a song for the stage. It's a Dylanesque trait that has served him well. I spent months searching for his live ballad version of “For You.” And man is that good. But this masterful remake of “Tenth Avenue Freeze-Out” is hands-down my favorite Springsteen track that has yet to be officially released. The original is a great “strut rocking song.” This ballad spotlights the power of the lyric, the image of the night. It's absolutely cinematic. —John Stix

BRUCE SPRINGSTEEN & THE E STREET BAND: “10th Avenue Freeze-Out (Ballad Version)” Bruce Springsteen has always been at ease changing up the recorded version of a song for the stage. It’s a Dylanesque trait that has served him well. I spent months searching for his live ballad version of “For You.” And man is that good. But this masterful remake of “Tenth Avenue Freeze-Out” is hands-down my favorite Springsteen track that has yet to be officially released. The original is a great “strut rocking song.” This ballad spotlights the power of the lyric, the image of the night. It’s absolutely cinematic. —John Stix

Cobainesque? Dylanesque? Ginsbergian? Lael Neale and I discuss the terms "straight coat vision", "white coat mistake", "white robed mystic" and other whipped delights. In between clips from her live performance at the Los Angeles Troubadour in January 10, 2019, Lael and I talk about poetry and songwriting. This episode includes the songs Beautiful Again, Third Floor Window, Black Boots, and Blue Vein from her forthcoming album. For more information visit her website location online at www.laelneale.com or https://laelneale.bandcamp.com/releases Assiduously, arduously, and ardently arranging alliteration, allusion and allegory, Lael Neale anticipates, accomplishing amalgamated associations astonishingly.

Rock is alive and well in the first episode of 2019, with Pete and Tim digging into Courtney Barnett's 2015 bombshell Sometimes I Sit and Think and Sometimes I Just Sit. Courtney's mix of Dylanesque lyrics, Nirvana rock and Patti Smith cool is an awesome blend of influences and a great high-energy way to start the new year. Given Courtney's Australian roots, we pair the record with Fosters. We end the ep with a cover of "Illustration of Loneliness". twitter: @recordtimepod facebook: /recordtimepodcast email: recordtimepodcast@gmail.com

Pulitzer Prize winning writer Viet Thanh Nguyen on refugee families and walking in his mom and dad’s shoes. We’ve also got reading recommendations from people whose professional lives let them spend long, uninterrupted, stretches of time between the covers. And we hear an acoustic set with a London-based singer-songwriter who slows down to really look life with a Dylanesque clarity.

Josh Yavneh isn't reinventing the wheel. He's just putting his own spin on it. 50+ years of rock and roll history and guidance + an original yet also familiar sound = Real deal mix of blues, rock, acoustic, country, folk, Dylanesque pop and whatever else works to get the "right sound". http://www.joshyavneh.com/ Josh Yavneh & the Culprits - "7:35" The Normal Living - "Country Mile" Caroline Rose - "Soul No.5" Josh Yavneh - "Trampoline" Set break — Interview w/ Josh Yavneh Mother Feather - "Trampoline" Amber Lamps - "It's Not Alright" Set break — Interview w/ Josh Yavneh Josh Yavneh & the Culprits - "Like a Dead Horse (On the Table)" Felix Koopa - "Habitue" Set break — Interview w/ Josh Yavneh Josh Yavneh & the Culprits - "Bad Ache" The Muggs - "Lightning Cries" The Rodent Hour plays R'n'R, independent R'n'R from Brooklyn & beyond, every Monday evening at 8:00 PM on Radio Free Brooklyn.

In the 16th Installment of "Talkin' Bob Dylan", Andy & Renee discuss Dylanesque songwriting through the lense of both homage and parody. In the parody camp, the duo yuks it up while listening to "Arms Disguised As Legs" by Steve Della Maggoria, a wonderful artist from Napa, CA. Then Andy & Renee move into the homage realm with "Blood on the (Title) Tracks" by The Title Trackers.

This is the first show since the holidays so I hope you found some time to relax and enjoy time with friends and family during the break. I stayed pretty busy myself with a pair of family get-togethers over Christmas and recently returned from a trip to Dubai, which explains the delay in getting this episode out. Dubai was a pretty amazing place with incredible buildings around every corner, delicious cuisine, and even indoor snow skiing. What really amazed me was despite how far away it was just how similar city life was to the States and relatively easy it was to acclimate. Well other than the cost of everything that is. Not to say that it was all the same, one big difference that I found was the absolute power that their government has over businesses there. During my stay all live music was prohibited in public on multiple occasions by order of the Shaikh. So from a live music perspective it might not be the ideal place to go, but if you are planning on seeing a concert there my advice would be to have a backup plan. Moving on to the music portion for the episode. For this show I am featuring Blitzen Trapper from their November 22, 2008 performance in Birmingham, Alabama. A co-worker told me about this band a while back and I found this recording shortly after. They have a slightly Dylanesque sound in my opinon but, as Levar Burton might say, you don't have to take my word for it. Give them a listen and decide for yourself, I hope you enjoy. Song listing 1) Sleepytime In The Western World 2) Furr 3) God & Suicide 4) Saturday Night 5) Black River Killer 6) Lady on the Water 7) Not Your Lover 8) Texaco 9) Badger's Black Brigade 10) Echo/Always On/EZ Con 11) Summer Town 12) Wild Mountain Nation If you enjoyed this podcast click the following link to download the the show in lossless format Blitzen Trapper - Birmingham, AL - 11/22/08  Support the artists by buying music and watching them live! Furr   Wild Mountain Nation   Blitzen Trapper   More... Purchase on Itunes   Purchase on Itunes   Purchase on Itunes   More from Itunes...       Check tour dates and band information for Blitzen Trapper.