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8 episodes with The Electric Prunes
3 episodes with The Electric Prunes
3 episodes with The Electric Prunes
3 episodes with The Electric Prunes
3 episodes with The Electric Prunes
2 episodes with The Electric Prunes
2 episodes with The Electric Prunes
2 episodes with The Electric Prunes
2 episodes with The Electric Prunes
The prime minister and the premiers meet to try to reshape the Canadian economy, and our guest says there's no time to waste.Nine of her ten children, and her husband, are dead after an Israeli airstrike. Now, a Gaza doctor's last surviving child is in hospital with serious injuries; I'll talk to the surgeon who's treating him. Researchers find that colon cancer patients who are given an exercise routine, and the support of a coach were significantly more likely to survive.Thanks in part to their late lead singer, James Lowe, the Electric Prunes were psychedelic savants whose motto was "so far out, so good".A former member of British Parliament tells us about the renewed battle to allow Stilton, England to produce Stilton cheese, which is, after all, named for Stilton, England. A perfumer-turned-astrobiologist answers the question we've all always asked: what does space smell like? And if you assumed cat urine and "poisonous marzipan clouds", good news.As It Happens, the Monday Edition. Radio that senses she's a real odor-achiever.
Van Morrison actuará esta semana en el marco de la novena edición de las Noches del Botánico, ciclo de conciertos que desde El Real Jardín Botánico Alfonso XIII de Madrid ofrece un amplio surtido de actuaciones para todos los gustos. John Fogerty anuncia nueva compilación en donde ha regrabado 20 canciones de Creedence Clearwater Revival. Y despedimos a James Wales, vocalista de la psicotrópica banda californiana de los 60 The Electric Prunes.Playlist;(sintonía) VAN MORRISON “Breadwinner” (Beyond Words: Instrumental, 2023)VAN MORRISON “Days like this” (Days like this, 1995)VAN MORRISON “Down to joy” (Remembering now)VAN MORRISON “Only a song” (Latest record project; volume 1, 2021)VIAGRA BOYS “Man made of meat” (Viagr aboys)SANTANA “Black magic woman/Gypsy Queen” (Abraxas, 1970)JOHN FOGERTY “Up around the bend” (Legacy; the CCR years)JOHN FOGERTY “Porterville” (Legacy; the CCR years)VIV and THE SECT “No tengo miedo” (II)THE ELECTRIC PRUNES “I has too much to dream last night” (ST, 1967)THE ELECTRIC PRUNES “Train to tomorrow” (ST, 1967)ROBERT FORSTER “Good to cry” (Strawberries)TY SEGALL “Skirts of heaven” (Possession)THE BEAT “All over the world” (To beat or not to beat, 1983)Escuchar audio
This month we've gone back further than ever before to 1967 a time when none of us existed yet and everything was psychedelic and groovy. There's proto prog, primeval punk, pop masterpieces, and whatever you'd categorise Zabadak as...We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Beach Boys, The Beatles, Tim Buckley, Calico Wall, Captain Beefheart & His Magic Band, Country Joe & The Fish, Dave Dee, Dozy, Beaky, Mick & Tich, The Electric Prunes, Aretha Franklin, Jimi Hendrix, The Hollies, Jefferson Airplane, The LEft Banke, Love, The Lovin' Spoonful, Pink Floyd, Louis Prima & Phil Harris, Otis Redding & Carla Thomas, Kenny Rogers & The First Edition, Sam & Dave, The Seeds, Nina Simone, Stone Poneys, The Third Bardo, Vanilla Fudge, The Velvet Underground, Scott Walker, The Who, The West Coast Pop Art Experimental BandFind all songs in alphabetical order here - https://open.spotify.com/playlist/5AZHbpp2zaOQoCQwI2QjDN?si=9838e165b6d94229Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com
EPYSODE 35: "Underground". Guest: Electric Prunes bandleader James Lowe. In this epysode we dive deep into the psychedelic/garage-rock masterpiece "Underground" by The Electric Prunes. Join us as we explore the innovative sounds that defined an era, with exclusive commentary from band leader James Lowe, who shares behind-the-scenes insights and stories from the making of the album. From its bold musical experimentation to its cultural impact, this epysode offers a unique look at one of the most influential albums of the 1960s. I hope you dig "Underground" as much as I do. -Farmer John ===CONNECT & SUPPORT=== Transport yourself into the realm of grooviness by supporting us on Patreon using this link --> patreon.com/FarmerJohnMusic Use this link to follow us on Facebook --> https://www.facebook.com/farmerjohnmusic/ Use this link to follow us on Instagram --> https://www.instagram.com/vinyl.relics.podcast/ Use this link to follow us on TikTok --> https://www.tiktok.com/@vinylrelicspodcast Use this link to follow us on BlueSky --> https://bsky.app/profile/farmerjohnmusic.bsky.social And find us on X here --> @VinylRelicsPod Email me here --> farmerjohnmusic@gmail.com ===LINKS=== Buy some of Richie Unterberger's amazing books ‘n' stuff here: http://www.richieunterberger.com My band is Newport Electric. Check out our music here: https://open.spotify.com/artist/5y6kGmYnS4SWvqAfijhDdp?si=5gUMW013TPGCBI2yiaJA7w ===THE MUSIC=== Songs used in this Epysode, in order of appearance. Here's a link to a Spotify playlist for all the tracks featured ( *denotes track is not available on Spotify): https://open.spotify.com/playlist/1wpu3KQTp1fbpbbekFCOQV?si=cb7b3792bf354fb4 ALVIN LEE & MYLON LEFEVRE "On The Road To Freedom" DICK DALE "Miserlou" *THE SANCTIONS "What'd I Say" JIM & THE LORDS "I'm Free" JIM & THE LORDS "I'm Down" THE CHIPMUNKS "Hard Day's Night" THE GYPSY TRIPS "Ain't It Hard" THE ELECTRIC PRUNES "Ain't It Hard" THE ELECTRIC PRUNES "Little Olive" THE ELECTRIC PRUNES "I Had Too Much To Dream (Last Night)" THE ELECTRIC PRUNES "Get Me To The World On Time" THE ELECTRIC PRUNES "The Great Banana Hoax" THE ELECTRIC PRUNES "Children Of Rain" THE ELECTRIC PRUNES "Wind-Up Toys" THE ELECTRIC PRUNES "Antique Doll" THE ELECTRIC PRUNES "It's Not Fair" THE ELECTRIC PRUNES "I Happen To Love You" THE ELECTRIC PRUNES "Dr. Do-Good" THE ELECTRIC PRUNES "I" THE ELECTRIC PRUNES "Hideaway" THE ELECTRIC PRUNES "Big City" THE ELECTRIC PRUNES "Captain Glory" THE ELECTRIC PRUNES "Long Day's Flight" THE ELECTRIC PRUNES "You Never Had It Better" (Live) THE ELECTRIC PRUNES "Try Me On For Size" (Live) THE ELECTRIC PRUNES "Kyrie Eleison" THE ELECTRIC PRUNES "Holy Are You" THE ELECTRIC PRUNES "14 Year Old Funk" SPARKS "Girl From Germany" TODD RUNDGREN "Hello It's Me" THE ELECTRIC PRUNES "Lost Dream" *THE ELECTRIC PRUNES "The Dream I Had Last Night" *THE ELECTRIC PRUNES "Pacific Ocean Blues" ??MYSTERY ARTIST?? tune in next week to find out... NEWPORT ELECTRIC "Devil's Bargain" (Shameless self-promotion...Newport Electric is my band!) Learn more about your ad choices. Visit megaphone.fm/adchoices
Label: Reprise 0564Year: 1967Condition: M-Price: $25.00The B side of this monster Psych-rocker may not have charted, but I actually think it tops the Top 40 A side. Note: This beautiful copy comes in a vintage Reprise Records factory sleeve. It grades close to Mint across the board (Labels, Vinyl, Audio).
Sintonía: "Vox Wah Wah Pedal Radio Spot" - The Electric Prunes"The Great Banana Hoax" - "Children Of Rain" - "Wind-Up Toys" - "Antique Doll" - "It´s Not Fair" - "I Happen to Love You" - "Dr. Do-Good" - "I" - "Hideaway" - "Big City" - "Captain Glory" - "Long Day´s Flight" - "Everybody Knows (You´re Not In Love)" - "You Never Had It Better" - "Shadows" - "Long Day´s Flight" (Alternate Version)Todas las músicas compuestas e interpretadas por The Electric PrunesTodas las músicas extraídas del 2º CD de la recopilación (2xCD) "Too Much To Dream - Original Group Recordings: Reprise 1966-1967" (Rhino/Warner Music, 2007) de The Electric PrunesEscuchar audio
Sintonía: "Voxx Wah Wah Pedal Radio Spot""I Had Too Much To Dream (Last Night)" - "Bangles" - "Are You Lovin´ Me More (But Enjoying It Less)" - "Train For Tomorrow" - "Sold To The Highest Bidder" - "Get Me To The World On Time" - "About A Quarter To Nine" - "Luvin´" - "Try Me On For Size" - "Tunerville Trolley" - "Ain´t It Hard" - "Little Olive" - "World Of Darkness" - "I´ve Got a Way of My Own" (outtake) - "Onie" - "The King Is In The Counting House" - "Luvin´" (Mono single version) - "Are You Lovin´ Me More (But Enjoying It Less)" (Mono) - "Get Me To The World On Time" (Mono)Todas las músicas compuestas e interpretadas por The Electric PrunesTodas las músicas extraídas del CD 1 de la recopilación (2xCD) "Too Much To Dream - Original Group Recordings: Reprise 1966-1967" (Reprise/Rhino/Warner, 2007)Escuchar audio
This week's episode takes us behind the scenes of an independent record label and record store out of Portland, Oregon: Jackpot Records, with its founder Isaac Slusarenko. He opened the store in 1997 as a place that was all about music, no T-shirts or candles. He launched the label in 2004 with a vinyl edition of the 1971 self-titled psychedelic soul album by Beauregard, a Portland wrestler, followed by albums by local rockers the Wipers. With repeat Caropop guest Kevin Grey providing the all-analog mastering then and now, the label offers Record Store Day treasures (Gandalf!) while releasing higher-profile titles by the Meters, Booker T. and the M.G.'s, Etta James, the Electric Prunes, Bill Evans, Martin Denny and others. How does the licensing of albums work? How does Slusarenko make his Jackpot pressings stand out? How important are the cover art, colored vinyl and limited editions? Slusarenko pulls back the curtains.
Singles Going Around- Summer (1967 Version)The Beatles- "I Am The Walrus"Captain Beefheart- "Sure "Nuff 'N Yes, I Do"The Small Faces- "Tin Soldier"Pink Floyd- "Astronomy Domine"Love- "Alone Again Or"The Electric Prunes- "I Had Too Much To Dream Last Night"Bob Dylan- "All Along The Watchtower"Jimi Hendrix- "Manic Depression"The Beach Boys- "Heroes and Villains"The Amboy Dukes- "Baby Please Don't Go"The Rolling Stones- "2000 Light Years From Home"The Who- "Armenia City In The Sky"Buffalo Springfield- "Expecting To Fly"13th Floor Elevators- "Levitation"The Balloon Farm- "A Question Of Temperature"The Byrds- "So You Want To Be A Rock and Roll Star"The Doors- "Back Door Man"Cream- "Sunshine Of Your Love"The Monkees- "What Am I Doing Hanging Around"The Velvet Underground- "All Tomorrow's Parties"Vanilla Fudge- "You Keep Me Hanging On" (Quentin Tarantino Edit)
1. Desmond Deka And The Specials 2. Hookworms 3. Sade 4. Sinead O'Connor 5. Jeannie C Riley 6. Zach Bryan 7. Glen Clark 8. Mick Harvey 9. Electric Prunes 10. Tom Waits 11. Jean-Paul Sartre Experience 12. Nick Cave And P J Harvey 13. Spelling 14. Madness 15. Muse 16. Jon Spencer Blues Explosion
My guest this week is James Lowe, singer of American band, The Electric Prunes, who formed in Los Angeles, California, back in 1965. The group's other-worldly sound, which included electronic elements, was characterised by innovative recording techniques, fuzz guitars and tape loops. Will discuss, among other things, the recording of their Psychedelic masterpiece, 'I Had Too Much To Dream (Last Night)' and the recording techniques they used, what it was like touring with The Doors and hanging out with Jimmi Hendrix. Some great stories in this one! 'I Had Too Much To Dream (Last Night)' official video
"Speak out, you got to speak out against the madnessYou got to speak your mind, if you dareBut don't—no, don't no—try to get yourself electedIf you do you had better cut your hair, mmAnd it appears to be a long (Yes it does)Appears to be a long (Mm)Appears to be a long timeSuch a long, long, long, long time before the dawn, yeah"Things haven't changed much in 55 years, have they?Well, no worries! Join us as we begin our New Years Weekend on this weeks "Red Eye Flight" where your presence counts. Joing us on this week's flight are Eric burdon & The Animals, Traveling Wilbury's, Ambrosia, Todd Rundgren, Al Stewart, Tom Petty & The Heartbreakers, Spooky Tooth, Weather Report, Donovan, George Harrison, Miles Davis, Beatles, Billy Joel, Traffic, Art Garfunkel, Derek & The Dominos, Strawberry Alarm Clock, Marmalade, Vanilla Fudge,, Electric Prunes, Jefferson Airplane, Badfinger, Moody Blues, Frank Sinatra, Alan Parsons Project and Crosby Stills & Nash,,,
VISIT THE PRUNES!http://www.electricprunes.com/
Recorded live on KX FM 104.7 in Laguna Beach, California, today's Keith's Music Box features Kansas, Heart, Paul Simon, Ted Nugent, Crabby Appleton, Steely Dan, The Fixx, The Electric Prunes, New Riders of the Purple Sage, Bad Company, Patti Smith, Cage the Elephant, Pearl Jam and Humble Pie.
What is in a name? It's a great question that we're exploring through music with tracks from Half Man: Half Biscuit, Strawberry Alarm Clock, Chocolate Watch Band, Electric Prunes, Red Lorry Yellow Lorry, and more!
"Well, I dreamed I saw the silver space ships flyingIn the yellow haze of the sun.There were children crying and colors flyingAll around the chosen ones.All in a dream, all in a dreamThe loading had begun"Please join me at Midnight for a journey that may include a stop at Area 51 on our Sci Fi, Mind Excursion themed Whole 'Nuther Thing. Joining us are David Bowie, Laura Nyro, The Byrds, Alan Parsons Project, Joe Zawinul, Van Morrison, Oasis, Genesis, Pink Floyd, Jimi Hendrix Experience, King Crimson, Larry Coryell, Jean Luc Ponty, Radiohead, The Doors, Marketts, Beatles, Electric Prunes, Rolling Stones, Weather Report and Neil Young...
Fervent fans of The Doughboys know their whole history, detailed on the Rock N' Raw DVD – they first got together in ‘64 and played in various permutations through the rest of the 60's. They gigged incessantly, won a battle-of-the-bands on Zacherle's Disc-o-Teen TV show, were the house band at the legendary Café Wha? in New York City in the summer of '68. They opened for every act imaginable including The Beach Boys, and released two 45's, Rhoda Mendelbaum and Everybody Knows My Name, on Bell Records (which later became Arista Records) before splitting up for what they thought was for good. The band members went their separate and interesting ways – Myke Scavone fronted hard rock ensemble Ram Jam who scored an international hit with Black Betty; Richie Heyman played drums for the likes of Link Wray, Brian Wilson and Jonathan Richman while simultaneously pursuing an acclaimed career as a singer/songwriter (under his full moniker Richard X. Heyman); Mike Caruso landed session work with such notable pop producers as Bo Gentry and Kenny Laguna, and even jammed with Jimi Hendrix!Mike CarusoSince the band re-formed in 2000 at a surprise birthday party for drummer Richie Heyman's birthday, The Doughboys have released six albums (Is It Now?, Act Your Rage, Shakin' Our Souls, Hot Beat Stew, Front Street Rebels and Running For Covers), numerous singles, and a documentary film with accompanying live disc (Rock N' Raw). They've played up and down the eastern half of the country, often sharing bills with such luminaries as The Pretenders, The Yardbirds, The Electric Prunes, Roberta Flack, Robin Trower and many others. They performed at the historic “Who Shot Rock n' Roll?” exhibition at the Allentown Museum, at an all-star tribute to George Harrison at the New York Society for Ethical Culture, at the “Long May You Run” benefit at The Hamilton Live in Washington, DC, and have appeared at prestigious venues like B.B. King's, the Sellersville Theater, the Stone Pony and the Starland Ballroom. Lead singer Myke Scavone is now also a member of The Yardbirds, touring the world as they continue to spread the gospel of the golden era of Rock n' Roll.In 2005, Gar Francis (of Stones tribute band Sticky Fingers fame, as well as work with Billy Idol and Mark Lindsay of Paul Revere and The Raiders) entered the picture after the untimely passing of founding member and brilliant guitarist Willy Kirchofer. When Gar joined the band, The Doughboys branched out into recording their own original material, and it wasn't long before they entered the recording studio and laid down tracks for Is It Now?, the first album of their long and storied career.The Doughboys' songs have become huge favorites on radio around the world, especially with Little Steven Van Zandt, who named Shakin' Our Souls his favorite album of 2012, and who has bestowed the much sought after rank of “Coolest Song In The World” on eight of The Doughboys' songs on his Underground Garage channel on Sirius/XM radio. Additionally, Doughboys music is used extensively in film, television and advertising, including in such TV shows as “The Big Bang Theory”, “Californication,” “Breaking Amish” and “The Good Guys” and in the film “Coming Through The Rye.”
James Lowe was the singer for The Electric Prunes, the psychedelic rock band that had a big hit with the song “I Had Too Much To Dream Last Night” in 1967. They charted again with the song “Get Me To The World On Time”. The Prunes toured with Cream, the Beach Boys and Steppenwolf among others. James went on to work with Todd Rundgren, Van Dyke Parks and Ry Cooder.My featured song is “Cousins”, from the album Trippin' by my band Project Grand Slam. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------James and I discuss the following:How the Electric Prunes got their nameMoby GrapeRock's psychedelic eraDJ in Seattle broke “I Had Too Much To Dream Last Night”Born and raised in CA; moved to HawaiiDick Dale and surf music“I Had Too Much To Dream Last Night”Recorded at Leon Russell'sFeedback at beginning of the song“Get Me To The World On Time”“The Great Banana Hoax”Touring with Cream and othersWorking with Todd Rundgren—-----------------------------------------“BOBBY M AND THE PAISLEY PARADE” is Robert's latest album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here. Audio production:Jimmy RavenscroftKymera Films Connect with James at:www.electricprunes67.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
A mix of psychedelic rock from the 1960s. Artists include Jimi Hendrix, The Doors, The Beatles, Jefferson Airplane, Count Five, Electric Prunes and more!
"There's a fog upon L.A.,And my friends have lost their way."We'll be over soon," they said.Now they've lost themselves insteadPlease don't be longPlease don't you be very longPlease don't be long for I may be asleep"The morning fog has burned off so please join me on the Saturday Edition of "Whole 'Nuther Thing live from Laguna Beach. Joining us are James Lee Stanley, Wishbone Ash, Traffic, Little Feat, Marc Cohn, Melissa Etheridge, Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, The Doors, Trevor Gordon Hall, Jake Holmes, Electric Prunes, Richie Havens, Dusty Springfield, John Lennon, Nilsson, B.B. King, Leon Russell, Bob Dylan, Jackson Browne and The Beatles...
Lenny Kaye has secured his place in rock history as the Patti Smith Group's longtime guitarist, but he also helped define rock history with one of the most influential compilation albums of all time: Nuggets: Original Artyfacts from the First Psychedelic Era 1965–1968. To create that 1972 double album, Kaye pulled together a largely obscure collection psychedelic and garage-rock songs that made a new kind of sense together, from the Electric Prunes' throbbing “I Had Too Much To Dream (Last Night)” to the guitar freakery of the Count Five's “Psychotic Reaction” to Sagittarius's gently trippy “My World Fell Down.” Now Kaye has expanded upon his work with a 5-LP Nuggets box released by Rhino on Record Store Day. What were his must-haves this time around? How do these songs hit differently 50-plus years later? How has Nuggets affected Kaye's own music-making, and how do his writing sessions with Patti Smith go?
Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comNo time to email? Send us a voicemail: http://sayhi.chat/1001Buy a copy of The Electric Prunes through this link and help support the podcast!https://amzn.to/43iRRf3The Electric Prunes were early psych pioneers in 1960s LA but bad contracts and a lack of creative control thwarted their attempts to hit the big time. The team discuss tremolo, shouted vocal takes, and the Sesame Street recording catalog.Listen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/0WII1mLm792r6xkBhVP6Vb?si=742c363a20c34942Listen to The Electric Prunes here:https://open.spotify.com/album/2HDvpJuWTI97BnZbJOxBzj?si=20pbPJCYQjuytpbbzssmCQIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at home!Follow us on instagram @thechopunlimitedCheck out the Merch StoreNext week's album: The Specials - The Specials
In the latest episode, Erik & Weldon answer the question: "what's purple and goes buzz buzz buzz?" The answer is the Electric Prunes, who psyched out the world in 1966 with "I Had Too Much To Dream (Last Night) (1:44). Unlike most people who tell you about their dreams, the Prunes keep you listening with some seriously spacy sounds. We analyze all the parts of this moody masterpiece, and Erik recounts a close encounter with some Taiwanese hornets. In '67, Rasputin & the Mad Monks took the song to another dimension (1:04:10). This one oscillates wildly, which inspires some tangents on music festivals and the Cudworth, Saskatchewan video store (another portal to other worlds!) ... speaking of tangents, Deviled Ham take us on a long journey, combining the Prunes tune with Edgar Allan Poe's "The Raven" (1:35:48). These guys really upped the theatrical ante on this one with Cookie Monster growls and a Shatner/Palance style vocal performance- let's just say the band name is very, very apropo(e)! Dedicated to Bahama Bob and Uncle Vinty
This episode showcases to bands that became revered in underground circles back in the 1960's., The Electric Prunes and The Blues Project featuring Al Kooper. Both bands experimented with the pop format and played a more expansive, experimental types of music. The Electric Prunes were from the San Fernando valley and differentiated themselves from the Los Angeles bands and created a unique Garage Psychedelic sound. The Blues Project featured Al Kooper, initially. They played Blues but they also expanded the perimeter of the blues sound. I hope you enjoy both bands,Please feel free to donate or Tip the show at sonictyme@yahoo.comPlease have a look at these special interest sites.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookEmma Bonner-Morgan Facebook music pageThe Music Of Emma Bonner-Morgan | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow".
Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. 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 There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of “Heroes and Villains”. The box set The Smile Sessions contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution". The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer, a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You' made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics, but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian. Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable. It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects, some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex, discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu
Today's program features tuneage from ELO,Ted Nugent & Amboy Dukes, Lovin' Spoonful, Tom Petty, Byrds, Who, Warren Zevon, Electric Prunes, Beatles, Todd Rundgren, Carly Simon, Counting Crows, Renaissance, Ben Folds, Little Feat, Billy Joel, Buffalo Springfield, Turtles, Doors, Lynyrd Skynyrd, Supertramp, Pure Prairie League & Savoy Brown.
Music was expanding in all directions in the 1960's; one of my favorite genres is the psychedelic/garage rock from that era. Few songs capture the sound & the spirit of that style as "I Had Too Much To Dream (Last Night)" by The Electric Prunes. Take a trip with me back to those halcyon days with one of the flagship songs from the psychedelic period. "I Had Too Much To Dream" (Annette Tucker & Nancie Mantz) Copyright 1966 4-Star Music; copyright 2004 Acuff Rose Music Limited— This show is one of many great music-related podcasts on the Pantheon network. Give 'em a listen! And remember to follow this show, so you never miss an episode.
Music was expanding in all directions in the 1960's; one of my favorite genres is the psychedelic/garage rock from that era. Few songs capture the sound & the spirit of that style as "I Had Too Much To Dream (Last Night)" by The Electric Prunes. Take a trip with me back to those halcyon days with one of the flagship songs from the psychedelic period. "I Had Too Much To Dream" (Annette Tucker & Nancie Mantz) Copyright 1966 4-Star Music; copyright 2004 Acuff Rose Music Limited — This show is one of many great music-related podcasts on the Pantheon network. Give 'em a listen! And remember to follow this show, so you never miss an episode. Learn more about your ad choices. Visit megaphone.fm/adchoices
Music was expanding in all directions in the 1960's; one of my favorite genres is the psychedelic/garage rock from that era. Few songs capture the sound & the spirit of that style as "I Had Too Much To Dream (Last Night)" by The Electric Prunes. Take a trip with me back to those halcyon days with one of the flagship songs from the psychedelic period. "I Had Too Much To Dream" (Annette Tucker & Nancie Mantz) Copyright 1966 4-Star Music; copyright 2004 Acuff Rose Music Limited — This show is one of many great music-related podcasts on the Pantheon network. Give 'em a listen! And remember to follow this show, so you never miss an episode. Learn more about your ad choices. Visit megaphone.fm/adchoices
Music was expanding in all directions in the 1960's; one of my favorite genres is the psychedelic/garage rock from that era. Few songs capture the sound & the spirit of that style as "I Had Too Much To Dream (Last Night)" by The Electric Prunes. Take a trip with me back to those halcyon days with one of the flagship songs from the psychedelic period. "I Had Too Much To Dream" (Annette Tucker & Nancie Mantz) Copyright 1966 4-Star Music; copyright 2004 Acuff Rose Music Limited— This show is one of many great music-related podcasts on the Pantheon network. Give 'em a listen! And remember to follow this show, so you never miss an episode.
Harford County Living presents Conversations with Rich Bennett, coming to you from the Freedom Federal Credit Union studios.On this episode, Rich is joined by Joyce Conroy of WHFC 91.1 FM. Joyce is the Host of the Block Party which can be heard on Saturday Nights on WHFC 91.1 FM. When it comes to rock and roll, Joyce is truly the Queen of Oldies Rock and Roll Radio. Her knowledge, interviews, and choice of music will have you coming back every Saturday to hear more. From the Electric Prunes to KISS and "yum-yums" like Tommy James and Bobby Rydell, the Queen will keep you glued to the radio.Sponsored by WHFC 91.1 FMRecommended podcast - Rock & Roll High School With Pete GanbargIf you have an idea or something or someone you would like to hear on the podcast, let us know by sending an email to podcast@harfordcountyliving.com.Please follow our Facebook Pages at Conversations with Rich Bennett and Harford County LivingHosted on BuzzsproutINTRODUCING... 4X THE REWARDS ON GASWith gas prices higher than ever, we wanted a way to help reduce your pain at the pump.That's why Freedom's Platinum Rewards Visa Credit Card is proud to introduce 4X the rewards on fuel.2Use your Platinum Rewards Visa when filling up your vehicle and earn 4x the rewards points. Redeem points for a wide selection of premium merchandise, gift cards to Buzzsprout - Let's get your podcast launched! Start for FREEFreedom Federal Credit Union HELPING YOU REACH YOUR FINANCIAL DREAMSWHFC 911.1 FM It's all about community. WHFC 91.1 FM, Harford Community College Radio, is the college radio staDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
The Hollies is our Featured Artist this week! Great music from this British group of the '60s & '70s...our "1-Hit Wonder" from 1972 is Luther Ingram's "If Loving You Is Wrong;" We have a terrific example of 60's variety with our "Psych. vs. Pop" segment: The Electric Prunes followed by the Bob Crewe Generation, back-to-back on the Billboard Hot 100 in 1967. This is a FUN episode-enjoy!
"Turn off your mind, relax and float down stream It is not dying, it is not dying Lay down all thoughts, surrender to the void It is shining, it is shining"Please join me this afternoon on the Sunday Edition of Whole 'Nuther Thing as we welcome Spring and the promise of a bright season ahead for the 1st time in 2 years. Joining me are Bruce Cockburn, Pat Benatar, Frank Sinatra, The Black Keys, Bob Dylan, Junior Parker, War, Orleans, Gerry Rafferty, Tom Petty & The Heartbreakers, Amboy Dukes, Rolling Stones, Simon & Garfunkel, Ace, The Knack, Them, The Doors, Yardbirds, John Mayalls Bluesbreakers, The Tradewinds, Little Walter, Little River Band, Butterfield Blues Band, Moody Blues, Electric Prunes, Beach Boys and Beatles...
This week's show covers new music from NYC's Caroline Polachek, a nu-Balearic track from Saint Petersburg, Russia's A Vision of Panorama, a new climate change anthem from Durham, NC's Superchunk, and a new dance single from London's Seb Wildblood. For the archive pick this week, Brendan hauls out one of the best tunes from December 1966. It's a song entitled “I Had Too Much to Dream (Last Night)”, which is probably the signature song from The Electric Prunes. West Coast Electric Psychedelia at its finest! Of course, there are six more bonus tracks, but you have to sign up for our email newsletter to get those. It's pretty easy to do, if you just click this link. (And do so without fear. We won't misuse your email address, as this show is run by two guys, Mark and Brendan; Not some faceless corporation.) Lastly, don't miss our fabulous Spotify playlists. We make one for each episode of the show, so grab the latest if you are up to date, and dig into previous episodes if you are new here, or just curious. Have a terrific week!
"And it's a fair windBlowin' warm out of the south over my shoulderGuess I'll set a course and go" Please join me on today's voyage, I'll be weloming on board Miles Davis, Laura Nyro, Lowell George, David Bowie, Traffic, Poco, Crosby Stills & Nash, Phoebe Snow, Miles Davis, Elton John, The Eagles, T. Rex, The Who, Electric Flag, Stevie Ray Vaughn, Lynyrd Skynyrd, The Electric Prunes, Poco, Doors, Beatles, Rhinoceros, Chicago, Eric Burdon & The Animals and Jefferson Airplane...
This is our holiday special complete with music to enhance the feeling of the Season. This is a Psychedelic Christmas and New Year Party show. Merry Christmas and Happy Holidays.
Un recorrido por la Costa Oeste en la década del 60 con Jefferson Airplane, Hot Tuna, Sly and the family Stone, Santana, Spirit, Doobie Brothers, Janis Joplin, Grateful Dead, Love, Electric Prunes, Three Dog Night, Steppenwolf, The Beach Boys, Mamas & the Papas, The Byrds, Country Joe & The fish, The United States of America, Buffalo Springfield, CSN & The Doors
Un recorrido por la Costa Oeste en la década del 60 con Jefferson Airplane, Hot Tuna, Sly and the family Stone, Santana, Spirit, Doobie Brothers, Janis Joplin, Grateful Dead, Love, Electric Prunes, Three Dog Night, Steppenwolf, The Beach Boys, Mamas & the Papas, The Byrds, Country Joe & The fish, The United States of America, Buffalo Springfield, CSN & The Doors
Un recorrido por la Costa Oeste en la década del 60 con Jefferson Airplane, Hot Tuna, Sly and the family Stone, Santana, Spirit, Doobie Brothers, Janis Joplin, Grateful Dead, Love, Electric Prunes, Three Dog Night, Steppenwolf, The Beach Boys, Mamas & the Papas, The Byrds, Country Joe & The fish, The United States of America, Buffalo Springfield, CSN & The Doors
Un recorrido por la Costa Oeste en la década del 60 con Jefferson Airplane, Hot Tuna, Sly and the family Stone, Santana, Spirit, Doobie Brothers, Janis Joplin, Grateful Dead, Love, Electric Prunes, Three Dog Night, Steppenwolf, The Beach Boys, Mamas & the Papas, The Byrds, Country Joe & The fish, The United States of America, Buffalo Springfield, CSN & The Doors
...from Electric Prunes to legendary Everlys...from Randy to Dooley...something goody...rainy...and kookie...
El segundo episodio de la segunda temporada del podcast Discos esenciales, de Rolling Stone, propone un viaje para espíritus melómanos a la historia detrás de los mejores discos del rock psicodélico en los años sesenta. El recorrido incluye clásicos absolutos de The Beatles, Rolling Stones, Pink Floyd, Who y Beach Boys, joyas menos conocidas de Love, The Zombies y Byrds, así como también rarezas de grupos como The United States of America, Electric Prunes y Bottom Toes.
100% vinilos! Nos visito Julio Murillo con una selección sesentosa de vinilos de Los Gatos, The Seeds, Rolling Stones y Electric Prunes. Nuestro #DiscoDeLaSemana es el primero de The Strokes que cumple 20 jóvenes años. DJ Manija sigue idem con los inicios de Kiss y nos trajo el Alive 1, una gema del glam rock. Ander con bonitas melodías de Connie Isla.
"ELECTRIC PRUNES WEBPAGE":https://shadwell.tripod.com/ephist.html
This week on Revenge of the 80s Radio, Producer, Musician, Innovator (and sometimes actor) Don Dixon talks with Chris about a new live album featuring him, Chris Stamey, Mitch Easter and several people out of the Winston-Salem music scene of the late 70s and 80s titled: Yesterday's Tomorrow: Celebrating the Winston-Salem Sound. It's a live recording of a special 2018 concert featuring members of what has been dubbed "The Combo Corner."The album is due out on May 7th; the performance featured original members of bands including Arrogance, Little Diesel, Sacred Irony, and Rittenhouse Square —including Mitch Easter (Let's Active); Peter Holsapple, Will Rigby, and Chris Stamey (the dB's); singers Don Dixon, Dale Smith, Lynn Blakey, Bob Northcott; and many others — as they played together on May 12, 2018, at Winston-Salem's Ramkat club. With the added excellence of the Occasional Orchestra (live strings, percussion, and brass), music direction by Doug Davis (Vagabond Saints' Society), and stops along the way for affectionate renditions of then-favorites by Bubble Puppy, the Easybeats, the Music Machine, the Electric Prunes, the Beatles, and even Kool and the Gang, there is a lot for music lovers to appreciate in Yesterday's Tomorrow.We also play music from Adrian Belew, Marshall Crenshaw and more.
Welcome to Tape Op's DISCussion, where we call our friends and music community notables to talk about their favorite records. This week we chat w/ singer Rahill Jamalifard about The Electric Prunes 1968 album, Release of an Oath. Enjoy!
Welcome to Tape Op’s DISCussion, where we call our friends and music community notables to talk about their favorite records. This week we chat w/ singer Rahill Jamalifard about The Electric Prunes 1968 album, Release of an Oath. Enjoy!
Label: Reprise 0564Year: 1967Condition: M-Last Price: $25.00. Not currently available for sale.The B side of this monster psych-rocker may not have charted, but I actually think it tops the Top 40 A side. Have a listen to the mp3 "snippet"! Note: This beautiful copy comes in a vintage Reprise Records factory sleeve. It grades very close to Mint in appearance (Labels, Vinyl), and is blessed with awesome, pristine Mint sound.
Episode 29 Sitars and Synthesizers Playlist Vincent Bell With Orchestra, “Quiet Village,” from Pop Goes The Electric Sitar (1967 Decca). The Coral Electric Sitar with chorus and orchestra. Coral electric sitar, Vinnie Bell (its inventor). AKA Vincent Gambella, a popular session player, primarily on guitar. Big Jim Sullivan, “Flower Power,” from Sitar Beat (1967 Mercury). Sitar and electric guitar, Jim Sullivan. Ultimate Spinach, “Your Head is Reeling,” from Ultimate Spinach (1968 MGM). Vocals, Lead Guitar, Guitar Feedback, Sitar [Electric], Geoffrey Winthrop. A very brief introduction to this longer track, featuring the Coral Electric Sitar. Enoch Light And The Light Brigade, “Marrakesh Express,” from Permissive Polyphonics (1970 Project 3 Total Sound). Coral Electric Sitar, Vinnie Bell; Moog Modular Synthesizer, Dick Hyman; Electric Alto Sax, Arnie Lawrence; Bass, Julie Ruggiero; Drums, Billy LaVorgna. Ami Dang, “Conch and Crow” from Parted Plains (2019 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang. Ami Dang, “Souterrain” from Parted Plains (2019 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang. Ami Dang, “Simplicity Mind Tool” from Meditations Mixtape Vol.1 (2020 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang. Ananda Shankar, “Dance Indra,” from Ananda Shankar (1970 Reprise). Ananda Shankar is not related to Ravi Shankar, the great classical Indian sitar master. Sitar, Ananda Shankar; Keyboards, Moog Modular Synthesizer, Paul Lewinson; Tabla, Pranish Khan; Drums, Joe Pollard, Michael Botts; Bass, Jerry Scheff, Mark Tulin; Guitar, Dick Rosmini, Drake Levin. Trivia, produced by James Lowe and included Mark Tulin on bass, both members of the Electric Prunes from the late Sixties. Paul Lewison was playing a Moog owned by producer Alex Hassilev. Shankar wanted to combine Western and Indian music into a “new form” as he called it. Melodious, touching, combining modern electronics and traditional sitar. I think he succeeded. I have included two striking examples that stray a bit from the pop rock flavor of many of the tracks. Ananda Shankar, “Raghupati,” from Ananda Shankar (1970 Reprise). Sitar, Ananda Shankar; Keyboards, Moog Modular Synthesizer, Paul Lewinson; Tabla, Pranish Khan; Drums, Joe Pollard, Michael Botts; Bass, Jerry Scheff, Mark Tulin; Guitar, Dick Rosmini, Drake Levin. Okko Bekker, “East Indian Traffic,” Sitar & Electronics (1970 BASF). Sitar, Moog Modular Synthesizer, Tabla, Okko Bekker; Moog Modular Synthesizer, Simon Alcott (alias of British pop pianist Les Humphries); Flute, Herb Geller; Guitar, Peter Haesslein. Bekker is a Dutch sitarist, keyboardist, and producer. Indian influenced psychedelic music from the days of the Moog Modular, recorded in Germany. This came several years after the Beatles and Stones experimented with the sitar but was an early album to combine the sitar with a Moog modular synthesizer. I have no idea where he learned sitar but I do know whose Moog he used for this recording. The producer Simon Alcott had purchased some Moog modular units in 1970. Alcott is also the alias of Les Humphries. Most of the album consists of cover tunes of rock songs, such as The Beatles. I chose one of bolder Moog tunes. Okko Bekker, “Delphin, Makarasana,” from Yoga Für Millionen (1978? Maritim). A German album of yoga instruction with musical soloist Bekker playing Sitar, Tabla, Moog Synthesizer, Flute, and Percussion. The narrator is Ulrich Brockmann. Amon Duul II, “Wie Der Wind Am Ende Einer Strasse” from Wolf City (1972 United Artists). Bass, Lothar Meid; Drums, D. Secundus Fichelscher; Electric Guitar, John Weinzieri; Sitar, Al Sri Al Gromer; Tabla, Pandit Shankar; Tambura, Liz van Neienhoff; Organ, Synthesizer, Falk-U Rogner; Soprano Saxophone, Olaf Kübler; Timpani, Peter Leopold; Violin, Chris Karrer Paul Heyda. Yves Hayat, “Path to Ascension” from Conversation Between the East and The West (1976 DeWolfe). Composer, sitar, guitars, bass, synthesizers, Yves Hayat; keyboards, vocals, Diane Crisanti. Produced as a record for broadcast libraries. Cosmology, “Out of the Kiva,” from Cosmology (1977 Vanguard). Sitar, congas, percussion, Collin Walcott; Vocals, Percussion; Dawn Thompson; Acoustic Bass, Electric Bass, Rick Kilburn; Drums, Bells, Bob Jospé; Fender Rhodes, Piano, Oberheim Synthesizer, Armen Donelian; Trombone, Dave Glenn; Trumpet, Flugelhorn, Tin Whistle, Mayan Flute, Flageolet, John D'earth. Clearlight, “Full Moon Raga,” from Visions (1978 Polydor). Bass, Philippe Melkonian; Grand Piano, ARP Odyssey, Gong, Cyrille Verdeaux; Sitar, Patrick Depaumanou; Minimoog, Luc Plouton; Tabla, Mohamed Taha; Drums, Percussion, Jacky Bouladoux; Electric Guitar, Bottleneck Cosmique, Christian Boule; Flute, Tenor Saxophone, Soprano Saxophone, Didier Malherbe; Violin, Bass Violin, Didier Lockwood; Vocals, Gérard Aumont, Gérard Gustin. The fourth album from this French progressive rock group headed by Cyrille Verdeaux on keyboards and ARP Odyssey. I have two recordings of this album. The original from 1978 had much less synthesizer. In 1992 they remixed the LP and added more synthesizer and vocals to the tracks. We are hearing the remixed version. Electric Universe and Sitarsonic, “Dub Stanza” from Dub Stanza (2020 Sacred Technology). Electric Universe is an ambient electronic musician who teamed up with sitarist and electronic musician Sitarsonic (Paco Rodriguez) to produce this dub-flavored work. Paco is from Greece. Electric Universe is in Belgium. Acid Mothers Temple & The Melting Paraiso UFO, “Ziggy Sitar Dust Raga,” from Ziggy Sitar Dust Raga (2003 Important Records). Vocals, Sitar, Cotton Casino; Tambura, Kawabata Makoto; Synthesizer, Higashi Hiroshi; Vocals, Tsuyama Atsushi. A psychedelic, trance-inducing treat from this inventive group of Japanese improvisers. Thanks to Ami Dang for helping me with this episode. You can explore releases of her music as well as check out her podcast at her website. Track played during the opening: The Folkswingers Featuring Harihar Rao , “Paint it Black,” Sitar Beat (1966 Fontana). Sitar, Harihar Rao; Organ, Electric Piano, Larry Knechtel; Bass, Bill Pittman; Fender Bass, Lyle Ritz; Drums, Hal Blaine; 12-string Electric Guitar, Dennis Budimir; Guitar, Herb Ellis, Howard Roberts, Tommy Tedesco. Track played during the opening: Lord Sitar, “I Am the Walrus,” from Lord Sitar (1968 Columbia). Sitar, Big Jim Sullivan. Track played behind the Ami Dang interview: Ami Dang, “Ajooni” from Meditations Mixtape Vol.1 (2020 Leaving Records). Also from Thom Holmes: My Book: Electronic and Experimental Music, sixth edition, Routledge 2020. My Blog: Noise and Notations.
This episode is a soundtrack to a state of mind that is free of normal perceptions, less inhibited and maybe even engaged in a more internal blissful consciousness. This is achieved by whatever means you care to take but the results induce Altered States of being. These songs will be the smoke rings of your mind. They will glide along with you on your trip. They will seem coherent and they won't make sense too. These are Altered States.Also:Listen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/You may also enjoy Becky Ebenkamp's "Bubblegum & Other Delights" show. Join the fun at her WFMU New York page link and access the media player at:https://www.wfmu.org/playlists/OD?fbclid=IwAR0Efrmj-ts-uSiGq5qK7EETHFTXdtsiaXTYq-ng-7QDUkJxC-X0QfHB-EII'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/
Psych deep dive with THIRD BARDO, ELECTRIC PRUNES, ULTIMATE SPINACH and some way-weird spoken word stuff! [supported by NZ on Air]
After 33 episodes of RPM45, beginning in June, I thought it would be a cool year-end thing to share my favorite moments from those talks. You'll hear highlights from Judy Collins, Gino Vannelli, Gary Puckett, B.J. Thomas, Dave Mason and members of Air Supply, The Association, Blues Magoos, Brewer & Shipley, The Buckinghams, Cutting Crew, The Cyrkle, The Electric Prunes, Foghat, New Colony Six, Ozark Mountain Daredevils, The Standells, The Whispers, and Wild Cherry.Our clips cover such topics as:How they got started in music.How groups got their names.If they knew a hit was a hit (before it was a hit).Their challenges getting paid for their chart success.What fan appreciation means for them.And more!One more thing. In the episode, i refer to some YouTube videos. Here's where you'll find them:Lawrence Welk's "One Toke Over the Line": https://youtu.be/t8tdmaEhMHEB.J. Thomas gets wet on The Ed Sullivan Show: https://youtu.be/-GYVu1JHJ9A (rain starts at around 2:00)New Colony Six on Kiddie A-Go-Go: https://youtu.be/hGW4cFMAcS0
Ben Lindbergh and Sam Miller banter about Jeff Luhnow’s lawsuit against the Astros and Max Muncy’s and Joe Kelly’s comments about MLB’s permeable postseason quasi-bubble, then conduct their sixth annual free-agent-contract over/under draft. Audio intro: The Clash, "All the Young Punks (New Boots and Contracts)" Audio outro: The Electric Prunes, "Sold to the Highest Bidder" Link to […]
James Lowe is the lead singer and guitarist of The Electric Prunes, a psychedelic rock band from Los Angeles famous for its 1966 hit: “I Had Too Much to Dream (Last Night).” The group’s music was sometimes weird, but I found James to be an easygoing, down-to-earth guy with a great sense of humor.We talk about...How he got started in musicHow The Electric Prunes got its nameHow the group was discovered.The recording of "I Had Too Much Too Dream." Why he left the group.What he's done since.And...much more!
Podcast del programa Submarino Amarillo 2.0, emitido en Radio Círculo el 23 de Octubre de 2020. Navegando a través de la música con novedades de Cold War Kids, Greta Van Fleet, Tennis, The Posies, U2 & Elton John y Nick Waterhouse. Te hablamos del próximo trabajo de Paul McCartney (McCartney III) en nuestro periscopio y rescatamos tesoros de Buffalo Springfiled, Johnny Kid y Electric Prunes. Y llegamos al puerto de Liverpool escuchando y conociendo la historia de "When I get Home" de los Beatles. Con Iván Ramos y Andrés Jiménez. No nos faltes. Este viaje sin tu locura no tiene a dónde ir.
Deze aflevering hoor je muziek van Bruce Springsteen, Tonio K. John Grant, Chris Stapleton en The Electric Prunes.
Some nights you just can't sleep. Other nights your sleep is haunted by bizarre dreams and nightmares. Either way you just can't win.This week's episode of KMB explores the mystery of sleep, dreams and nightmares. We'll also pay tribute to a few ‘70s hitmakers we've recently lost. Set your alarm and tune in to hear rousing songs from John Lennon, Metallica, Alice Cooper, the Electric Prunes, the Romantics, Smithereens, Eurythmics and many others.
Psychedelic Pseptember 2020 part 1 ! THE KRELS, THE ELECTRIC PRUNES, EL TARRO DE MOSTAZA, LA 5E DIMENSION... [supported by NZ on Air]
Radio Nova revisite ses propres classiques : les raretés de tous bords qui rythment notre antenne, de la soul-funk au hip-hop en passant par les musiques afro-latines et la pop. Aujourd'hui : « Holy Are You » de The Electric Prunes. See acast.com/privacy for privacy and opt-out information.
I was 21 when I first heard Pnau. Their debut album Sambanova would become the soundtrack to pre drinks and after parties, it signalled a duo who knew how to bring it, with an exceptional debut of house music. Nick Littlemore was the producer behind it, and alongside Pete Mayes they'd craft many more records, reaching new levels of explosive, ecstatic pop music. It wasn't the only project Nick would excel at through. With Luke Steele, he formed Empire of the Sun, and topped the charts in Australia and the States. He'd dabble with Ladyhawke in a band called Teenager, and his latest collaboration is with Al Wright, as the duo Vlossom. Working with others is key to what propels him forward, and since he was a kid he's sought out like minded creatives to bring his wild ideas to life. Nick Littlemore is one of those larger than life characters, and over the years I would hear him in interviews exclaiming loudly, distorting the mics with his reactions, and generally taking life by the horns. But recently, his mood has shifted. You'll find out why pretty soon, as Nick shares his songs of enlightenment. From his adopted home of Los Angeles, in his home studio crammed with synths, amps, cords, and just gear, Nick shows a side of himself you've never heard before. From Frankie Knuckles to vedic chanting, this is a magical conversation about the power of song. Frankie Knuckles - Your Love Alice Coltrane - Om Shanti Vangala Kasinatha Sarma & Nishtala Suryaprakash Rao - Saraswathi Suktham The Electric Prunes - Holy Are You The Terry Riley - A Rainbow In Curved Air
I was 21 when I first heard Pnau. Their debut album Sambanova would become the soundtrack to pre drinks and after parties, it signalled a duo who knew how to bring it, with an exceptional debut of house music. Nick Littlemore was the producer behind it, and alongside Pete Mayes they’d craft many more records, reaching new levels of explosive, ecstatic pop music. It wasn’t the only project Nick would excel at through. With Luke Steele, he formed Empire of the Sun, and topped the charts in Australia and the States. He’d dabble with Ladyhawke in a band called Teenager, and his latest collaboration is with Al Wright, as the duo Vlossom. Working with others is key to what propels him forward, and since he was a kid he’s sought out like minded creatives to bring his wild ideas to life. Nick Littlemore is one of those larger than life characters, and over the years I would hear him in interviews exclaiming loudly, distorting the mics with his reactions, and generally taking life by the horns. But recently, his mood has shifted. You’ll find out why pretty soon, as Nick shares his songs of enlightenment. From his adopted home of Los Angeles, in his home studio crammed with synths, amps, cords, and just gear, Nick shows a side of himself you’ve never heard before. From Frankie Knuckles to vedic chanting, this is a magical conversation about the power of song. Frankie Knuckles - Your Love Alice Coltrane - Om Shanti Vangala Kasinatha Sarma & Nishtala Suryaprakash Rao - Saraswathi Suktham The Electric Prunes - Holy Are You The Terry Riley - A Rainbow In Curved Air
I was 21 when I first heard Pnau. Their debut album Sambanova would become the soundtrack to pre drinks and after parties, it signalled a duo who knew how to bring it, with an exceptional debut of house music. Nick Littlemore was the producer behind it, and alongside Pete Mayes they’d craft many more records, reaching new levels of explosive, ecstatic pop music. It wasn’t the only project Nick would excel at through. With Luke Steele, he formed Empire of the Sun, and topped the charts in Australia and the States. He’d dabble with Ladyhawke in a band called Teenager, and his latest collaboration is with Al Wright, as the duo Vlossom. Working with others is key to what propels him forward, and since he was a kid he’s sought out like minded creatives to bring his wild ideas to life. Nick Littlemore is one of those larger than life characters, and over the years I would hear him in interviews exclaiming loudly, distorting the mics with his reactions, and generally taking life by the horns. But recently, his mood has shifted. You’ll find out why pretty soon, as Nick shares his songs of enlightenment. From his adopted home of Los Angeles, in his home studio crammed with synths, amps, cords, and just gear, Nick shows a side of himself you’ve never heard before. From Frankie Knuckles to vedic chanting, this is a magical conversation about the power of song. Frankie Knuckles - Your Love Alice Coltrane - Om Shanti Vangala Kasinatha Sarma & Nishtala Suryaprakash Rao - Saraswathi Suktham The Electric Prunes - Holy Are You The Terry Riley - A Rainbow In Curved Air
This week we take a time trip with some heavy 20th century sounds from Pink Floyd, Moby Grape, Electric Prunes, Lemon Pipers, Moody Blues, some beat group from Liverpool, and MORE! It’s a trippy, hippie-dippy, craptacular spectacular! Join Warlock Matt and Dagon as they discuss GNOMES.
Heading into 2000, there are some wonderful #1 songs on my chart this quarter. Enjoy! Song list: "Sexx Laws" by Beck, "You" by George Harrison, "I Had Too Much to Dream (Last Night)" by the Electric Prunes, "Street Fighting Man" by the Rolling Stones, "Take it Away" by Paul McCartney, "Young Americans" by David Bowie, "Darlin'" by the Beach Boys, and "Love Her Madly" by the Doors. --- Support this podcast: https://anchor.fm/musicismyradar/support
* Opening salvo - the usual suspects* Mackey Beers & the Rockittes - That Jim [Mark 1962] Wacked out!*Bed - Stones - 2120 S. Michigan AveSet 1: Get Me Offa This Ball- The Animals - Baby let me take you home [Columbia 1964] 45 rpm / their 1st!* Electric Prunes for Voxx Wah Wah- The Electric Prunes - Get me to the world on time [Reprise 1967] 45 rpm* DRR / HGRNJ ID's- Mose Allison - Do nothing till you hear from me [Prestige 1963] LP - Mose Allison Sings- Fleetwood Mac - One sunny day [Reprise 1969] LP - Then Play On- Brian Auger & the Trinity - Isola Natale [Marmalade 1967] LP - OpenSet 2: Guns & Redemption- Eddie Gaines & the Rockin' 5 - Be bop battlin' ball [Summit 1958] 45 rpm / repro- Jr. Wells & the Aces - Lawdy Lawdy [States 1954] 45 rpm- Tom Waits - 16 shells from a 30 ought six [Island 1983] LP - Swordfishtrombones- Rolling Stones - My obsession [Decca 1967 / Mono] LP - Between the Buttons- Keith Richards - Wicked as it seems [Virgin 1992] LP - Main Offender* Bed....see aboveSet 3: Rocket #9 You're Cleared For Takeoff- Seeds - Pushin' too hard [GNP 1966] 45 rpm- Yvonne Baker & the Exciters - Let me in [Argo 1961] 45 rpm- Lowell Fulson - Make a little love [Kent 1965] 45 rpm- NRBQ - Rocket #9 [Columbia 1969] LP - NRBQL8ter G8ter's.....
info@podcastone.com67280bf7-ed5e-4f47-ab0f-272b3cb288c5Tue, 17 Dec 2019 23:00:00 PSTBob Stroud
Ron and Russell recruit a new band in England, and sharpen their sound with new songs. Hear how Martin Gordon, Dinky Diamond and Adrian Fisher were discovered, and how Island Records had set Sparks up to be 1974's Next Big Thing. Stick around for an interview with James Lowe, producer of Sparks' previous album A Woofer In Tweeter's Clothing, and founding member of the Electric Prunes. Thanks for your support in 2019, dear listeners! Happy Holidays/Christmas/Hannukah/whatever and I'll see you in 2020! Check us out on FB, send me an email, and join the Indiscreet fan page on FB!
Today's program features tuneage from (not in order of appearance) Traffic, Tony Valentino & Friends, Ian Hunter, Golden Earring, The Amboy Dukes, Blood Sweat & Tears, The Joe Farrell Quartet, Toto, T. Rex, Tom Petty, Joni Mitchell, The Beatles, Boston, Blondie, Aerosmith, Kenny Rankin, Electric Prunes, Simon & Garfunkel, Rolling Stones, The Standells, The Who, Beach boys and more...
In 1966, Annette Tucker came up with the title "I Had Too Much To Dream", and wrote the song with Mantz. Tucker said: "The Prunes were an unknown group who I hired to play at a surprise party I gave for my husband. I thought they were a very creative and talented group. A cousin of my husband's brought them to Dave Hassinger, and he came to me asking for material. I played him 'Too Much To Dream' and he loved it and had all sorts of great ideas for it. When that became a hit he only wanted to use the songs that I had a part of."[1] After "I Had Too Much To Dream" became a hit, Tucker co-wrote many of the tracks recorded by the Electric Prunes on their first two albums, mostly with Mantz although she wrote the follow-up single "Get Me To The World On Time" with Jill Jones. According to Tucker, "Nancie and I were told to write different types of songs for the Prunes [first] album. So that is what we did... It was a great feeling to have eight songs on the album.
Almost everyone is familiar with Janis Joplin as a fixture sound of the late 60's, but some may not know that she got her San Francisco start with Big Brother and the Holding Company on their self-titled debut album in 1967. Joplin was ostracized in high school, and you can get a sense of her as a lonely soul through her singing. She joined Big Brother and the Holding Company in 1966, which was an established band at the time. Joplin would move on to become a superstar soon, but this gives you a taste of her early work. Cuckoo This minor key track is about a gold digger, and features Joplin's unmistakable voice prominently. Big Brother and the Holding Company - Call on Me "I need you, darling, like the fish needs the sea, don't take your sweet, sweet love from me." Intruder Janis Joplin wrote this song, and it has a more psychedelic sound. Joplin was inspired by Otis Redding's style. Down on Me This blues track is the big song off the album, though it wasn't a top 40 hit. It talks about how the world is "down on me." ENTERTAINMENT TRACK: “Foggy Mountain Breakdown” by Flatt & Scruggs This bluegrass song is from the movie "Bonnie and Clyde" which was in the theater at the time. STAFF PICKS: “Windy” by The Association Brian's staff pick was a feature of AM radio at the time. This is about a fictional character dreamed up by folk singer-songwriter Ruthann Friedman. The Association was also a staple of television variety shows. **“I Thank the Lord for the Night Time” by Neil Diamond ** Rob's pick by this well-known artist considered this song "as close as this white Jewish kid from Brooklyn could come to being a Gospel singer!" “Heroes and Villains” by The Beach Boys This song that Bruce brought was originally intended to be the centerpiece of the epic and unreleased album “Smile.” It appeared as the opening song to the substitute album “Smiley Smile.” “I Happen to Love You” by The Electric Prunes Wayne's deep cut staff pick reflects the psychedelic nature of the time. It reflects the nervousness associated with a passionate love affair. Carole King was a co-writer on this song. **“The Ballad of Bilbo Baggins” by Leonard Nimoy ** A cult classic from the original actor playing Star Trek's "Mr. Spock" finishes out this week's podcast. It played on the popularity of both Star Trek and Tolkien's works.
Vandaag met muziek van Electric Prunes, The Zombies, Nick Waterhouse, Finn Andrews, Ronde, Andrew Bird en Iggy Pop.
In 1966, the Electric Prunes emerged from their garage to the world stage with their first hit single, "I Had Too Much To Dream (Last Night), widely recognized as the one of the first psychedelic hit records. The follow-up single, "Get Me To The World On Time," was named one of the top 100 psychedelic records by Mojo Magazine and recognized by Rock'n' Roll Hall of Fame as the #20 psychedelic record of all time.
Some classics this week from BLUES MAGOOS, SHADOWS OF KNIGHT, ELECTRIC PRUNES, CHOCOLATE WATCHBAND and Kiwi bands THE BLUESTARS and THE LIBRETTOS [supported by NZ on Air]
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Buenas noches a todos. Hoy en La Gran Travesía recuperamos un programa dedicado a lo mejor de los inicios del Garage de principios de los 60 y a algunas bandas que formaron parte de la llamada Invasión británica. Grupos como The Sonics, The Wailers, Count Five, The Electric Prunes, Trashmen, The Rivieras, Mouse and the Traps, Knickerbockers...y muchos más. Ayúdanos a compartir si te gusta el programa. Muchas gracias!Escucha este episodio completo y accede a todo el contenido exclusivo de La Gran Travesía. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/489260
Sometimes considered a 60's garage one-hit-wonder the Electric Prunes kick off their debut album with their first (and biggest) hit single, and if Electric Prunes: I Had Too Much to Dream (Last Night) never hits the high point of its title track again it still might be enough to consider a listen.
This episode has been compiled by Fabrizio Vatieri, a great artist, photographer and friend, born in the chaotic Naples and based in the busy Milan. Besides his interesting artistic practice, Fabrizio is a profound music connoisseur. City of Lagoons — as Fabrizio says — is a compilation made imagining a continuous and cyclic tension between spring and autumn. The episode features: The Residents, Ariel Calma, Don Cherry with Latif Kahn, Todd Rundgren, Oil XL, Carioca, General Strike, Electric Prunes, Pheeroan Ak Laff, Hawkind, LNRDCROY, Piero Umiliani, Psychic TV, Sun City Girls and The Residents.
Which band were given their first break by an estate agent and played the definitive Psych song? Eddie Kramer helps the beatles and the Rolling Stones and Jimi Hendrix - legend.
Today's program features tuneage from The Wallflowers, Tom Petty, Rolling Stones, Humble Pie, The Smiths, Dire Straits, Pretenders, Talking Heads, Randy Newman, The BoDeans, Byrds, Buffalo Springfield, Crosby Stills Nash & Young, The Tradewinds, Chambers Brothers, Electric Prunes, Amboy Dukes, Pink Floyd, Doors, Beatles, Moody Blues, Chad & Jeremy, Cat Stevens, Rascals, 10CC, Oasis, Jefferson Airplane, Crosby & Nash, Eric Clapton, Bert Jansch, Bob Lind, Return To Forever, Emerson Lake & Palmer, King Crimson, Patti Smith, James Taylor, Nick Drake, Van Morrison and Fleetwood Mac.
in this week's episode of the show, I dive into a genre of music from the 60's known as psychedelic rock and I talk about a very acid infused hard rock song with tons of guitar effects and I talk about how they came up with those crazy guitar effects, how the band came up with it's name, and I also draw comparisons with a modern day Alternative Rock song and talk about the similarities and differences between the two songs. here are the links to the song I'm talked about in this week's episode and also, the modern day Alt Rock song that I compared it to here's this week's song:https://www.youtube.com/watch?v=F-kVFfKezVohere's the modern day Alternative Rock song I draw comparison's too this week's 60's song.https://www.youtube.com/watch?v=OqPVz101nd0You can Also Follow me on Instagram right here: https://www.instagram.com/iheartoldies/You can also check out more of my original music right here:http://www.samwilliamsmusic.net/If you liked my analysis for this week's song or found it interesting, or found the information I talked about for this week's group interesting, or listened to this week's song for the first time based off of my analysis of it and fell in love with it, please shoot me an email at sam@hickeywilliams.com and stay tuned for more shoutouts on this show from people that have left really good reviews for me in iTunes or whatever you are listening to it from.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Buenas tardes a todos. En este capítulo de la Gran Travesía, el número 069 de la Historia del Rock, se lo dedicamos a la segunda parte del año 1967, a los acontecimientos musicales más importantes. Haremos también un resumen del primer gran Festival celebrado en junio en Monterey, precursor de Woodstock. En el programa sonarán Janis Joplin and the Big Brother Holding Company, Otis Redding, Jimi Hendrix Experience, Electric Prunes, Moby Grape, Captain Beefheart, Van Morrison, Procol Harum, Pink Floyd, Arthur Conley, The Who, Jeff Beck, Traffic,...y muchos más. Ayúdanos a compartir, si te gusta. Muchas gracias!!Escucha este episodio completo y accede a todo el contenido exclusivo de La Gran Travesía. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/489260
En los últimos años, las tecnologías de escaneos cerebrales han madurado de tal forma que hoy nos permiten abordar preguntas que han estado allí por milenios. Pertenezcamos o no a un credo, es innegable que la religión ha sido una de las más importantes fuerzas configurando al ser humano y la sociedad a través de los tiempos. Hoy la cuestión religiosa la abordaremos desde la música. Se dice que el fervor religioso mueve las regiones cerebrales que también activan el sexo, la comida basura, las drogas, el juego o la música. Lo que ahora mismo estáis pensando todos y todas es que sería increíble mezclaras todas de algún modo. Pues bien…hoy en Más Allá de Orión lo vamos a hacer con los Electric Prunes.
Thema is Train, Boats en Planes. Je weekend begint weer swingend met muziek van Billy J. Kramer, The Electric Prunes, Madness en Udo Lindenberg.
This weeks program celebrates the 50th Anniversary of "The Summer of Love" featuring music from Scott McKenzie, Beatles, Stones, Eric Burdon & The Animals, Buffalo Springfield, Jefferson Airplane, Grateful Dead, Country Joe & The Fish, Big Brother & The Holding Company, Quicksilver Messenger Service, Moby Grape, Rascals, Turtles, Doors, Strawberry Alarm Clock, Electric Prunes, Byrds, Grass Roots, Johnny Rivers and The Youngbloods. Additional tuneage from It's A Beautiful Day, Mahavishnu Orchestra, Jean Luc Ponty, Led Zeppelin, Cream, The Who, Greg Allman, Howard Tate, Wilson Pickett, Allman Brothers, Flying Burrito Brothers, Poco, Doobie Brothers, Firefall, Love, Faces, Hollies, Beatles & Beau Brummel's.
Om 21:00 uur Vic van de Reijt en Frits Jonker met Train To Nowhere. Het thema is vandaag De Hittegolf, past mooi bij het weer. Muziek van Electric Prunes, Gert Timmerman, Serge Gainsbourg, Joop van de Marel, Raymond van het Groenewoud en Bobby Louis.
After being gone for a few weeks, the Record Wheel returns with an XL sized episode includes songs brought home from New Orleans and a random assortment of other goodies. Artists include the Electric Prunes, Lonnie Russ, the Vibrations, the Southern University Stage Band, Demon Fuzz, Pratt & Moody, Ruly Garcia and the late, great Clyde Stubblefield.
What the world needs now is love sweet love, it's the only thing that there's too little of, and The Blue Island Radio Podcast is bringing it! So ready or not, here comes the love; with music by The Pussycats, The Chiffons, The Electric Prunes, The Mummies, and more!
'Tis the season! Ben jij klaar voor die tweedaagse familie-marathon? Bij Radio Siberië kan de stemming niet beter. Hier in onze studio druppelen de gasten langzaam binnen. En als het goed is gaan we over een uurtje of twee aan tafel. Welke gasten? Nou, even kijken hoor. We hebben een Maartje Wortel. Een Stippenlift. Een De Staat. Een Walter van den Berg. Een Lucky Fonz. Een Jerry Hormone Ego Trip. Een Pieke Werner. Ze komen allemaal iets doen, en daarna snijdt Willem Sjoerd plechtig de kalkoen aan. Er rijdt hier een treintje om de kerstboom heen met Ferrero Rochertjes erin. Er hangt een misseletoe boven de deur. We hebben een kinderhoekje met kerstfilms. We pakken gigantisch uit en we hebben o-ve-ral aan gedacht. En niet te vergeten, we draaien ook liedjes. Die hele bekende van Mariah Carey komt langs, maar niet voordat we met The Electric Prunes en Extince de kerstkussens flink opgeschud hebben.
Today’s tracks played in The Fuzz Factory Podcast were hand-picked by our first official guest, the one, the only, Alanna … More
Punk Rock, Psychedelic Rock, The Ramones, The Wild Ones, Youth Culture, Edward Bernays, Sound Effects: Youth, Leisure, and the Politics of Rock'n'roll Book by Simon Frith, Andy Warhol, Velvet Underground, Lou Reed, The Cowboy Junkies, Hippie Music, The Beatles, Lenny Kaye, Electra Records, Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968, Jack Holtzman, Patti Smith, Glam and Art Rock, Indie Music, The Electric Prunes, The Who, Commie Music, Pete Seeger, The Sonics, The Rolling Stones(The Anti-Beatles),Cass Elliot_Intro Music:Seven & Seven Is by Love, Outro Music: Pushin' Too hard by the Seeds_hoaxbusterscall.com
Today's Program is our "Put Away Your iPod, Pot Luck Holiday Special. Tuneage from The Flock, It's A Beautiful Day, Charlie Daniels Band, Grateful Dead, Bob Dylan Little Feat, Hall & Oates, Queen, The Tradewinds, Strawberry Alarm Clock, Iron Butterfly, Electric Prunes, Amboy Dukes, Lovin' Spoonful, Tim Buckley, Richie Havens, Judy Collins, The Hollies, Tremeloes, Love, The Shadows of Knight, Doors, Steppenwolf, Aretha Franklin, Wilson Pickett, Blood Sweat & Tears, The Electric Flag, Janis Joplin, Super Session, The Parliaments, Janis Ian, Nilsson, The Beatles, Bee Gees, Badfinger, The Left Banke, Rolling Stones, Humble Pie and Jefferson Airplane.
In Part 2 of this special edition of Retrosonic Podcast we are very pleased to welcome back Harley Feinstein, the original drummer with Sparks. Harley appeared on the band's first two Bearsville Records albums "Halfnelson/Sparks" and "A Woofer In Tweeter's Clothing", and their very first visit to the UK back in the early Seventies. In the previous Episode Harley told us about how he first met Ron and Russell Mael and joined the band. Now in Part 2, Harley talks about the band's first experiences in a studio with Todd Rundgren and James Lowe of The Electric Prunes and how a notorious bunch of Groupies contributed to them getting signed to Bob Dylan's manager's record label. This introduces the band to the nefarious world of the music business with it's aggressive managers and pressure to "make it". There's the enforced name change from Halfnelson to Sparks and we discover some of the hilarious, and slightly worrying, alternate names that the band might have been lumbered with. We follow the band to England and their first TV appearance on Old Grey Whistle Test and sold-out gig at the Marquee and residency at The Pheasantry and the taste of what can be achieved on record company expenses. We then find out how an ill-fated trip to Zermatt in Switzerland became the final nail in the coffin for the band at that time. Soundtracked by early Sparks songs including material from their original demo album, this is a fascinating tale of Sparks' formative years. For more information on Harley's new project Crash 74 and their gig in London, including exclusive Paul Slattery photographs, please visit www.retromanblog.com
Electric Prunes dan el campanazo de salida. Thurston y sus Chelsea Light Moving recuperando a los Germs. Los muy nombrados The Men con nuevo trabajo. A los Halo Benders no les toques el bikini. Era normal que The Cramps perdieran la cabeza. Desde las antípodas llegan Blank Realm con su dosis de realismo sucio. El segundo Lp de John Grant el cantautor electrónico. Indie pop hecho en Brooklyn lo último de Beach Fossils. Se apedillaba Smith pero ahora es Johnny Marr en solitario con toque muy british. Y para inglés su ex compañero Morrissey. Australianos Youth Group y su versión de Alphaville. Nos vamos con un himno pop 60s de Evie Sands.
In an episode first aired on January 21, 2013 "Come To The Sunshine" host Andrew Sandoval talks with arranger/composer/musician/publisher Perry Botkin, Jr. Botkin's work in the mid-1960's with such artists as Harry Nilsson, The Ronettes, The New Establishment, Tommy Boyce, Mojo Men, Thorinsheild, Sunday Funnies, The Shangri-las, Gil & Johnny, Tom Northcott, Electric Prunes, Jennifer Warnes, Harper's Bizarre, the Looking Glass, Collage and Robin Ward is reviewed, replayed and discussed. Along the way he tells stories of his path in music through the Los Angeles studio scene, working at Gold Star Studios and with such luminaries as arranger George Tipton, Leon Russell, The Incredible Bongo Band, Phil Spector, Lenny Waronker, Dave Hassinger, Van Dyke Parks, Randy Newman, Johnny Cole, Steve Douglas, Rusty Draper, the Trends and many more in a one-of-a-kind glimpse into this golden era of recording and creativity.
You wouldn't believe what the DRR Show can do for a glass of milk!....Extra calcium, more vitamins, iron, protein, carbohydrates and not to mention that delicious flavor!!! This week's show spotlights 16 songs [11 - 45 rpm's / 1 - 78 rpm / & 4 Lp cuts & 1 - flexi ] all packed into a :058 minute show!!Tell your friends!!
Jon Shapiro lands on planet Ultima Thule with 90 minutes of ambient psychedelia from the 1960s, 70s and 80s, by Philip Glass, Walter Carlos, the Beatles, Pink Floyd, the Electric Prunes, Mike Oldfield and Tangerine Dream. Freak out!
Jon Shapiro lands on planet Ultima Thule with 90 minutes of ambient psychedelia from the 1960s, 70s and 80s, by Philip Glass, Walter Carlos, the Beatles, Pink Floyd, the Electric Prunes, Mike Oldfield and Tangerine Dream. Freak out!
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