Podcast appearances and mentions of Eric Andersen

Episode Notes S6E10 - Join us as we sit down with the one and only Laura Pursell. She'll be telling us tales from acting to singing her hits and much much more. Her nostalgic, lush and heartfelt voice, Laura Pursell's smooth west coast vocals are backed by the genius of her famous father Bill Pursell, who wrote 8 out of 10 arrangements and played piano on all 10 tracks. The rich orchestration, recorded by Nashville's A-team players. Mr. Pursell is perhaps best known for his hit record "Our Winter Love," but also played piano on many of Johnny Cash's albums in the 1960s, and worked as a session musician and arranger for Patsy Cline, Johnny Paycheck, Hoover, Joan Baez, Eric Andersen, Scotty Moore, J.J. Cale, Willie Nelson, Dan Fogelberg, and others. In 1985, Pursell was named Composer of the Year by the Tennessee Music Teachers Association. HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com Follow our guest https://www.laurapursell.com/ https://www.imdb.com/name/nm0700958/ https://www.youtube.com/c/LauraPursell http://bhbpr.com/ Toking with the Dead: https://www.stilltoking.com/ ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— Produced by Leo Pond and The Dorkening Podcast Network MORE ABOUT THE GUEST: Singer/Actress Laura Pursell was born and raised in Nashville, TN surrounded by music (her father is pianist Bill Pursell, who had the hit record “Our Winter Love” (1963) and was a go-to sideman in Nashville for Marty Robbins, Patsy Cline, Chet Atkins, Boots Randolph, Johnny Cash, and many, many others. At 18, she was cast as Dick Van Patton's niece in a nationally televised Christmas special, “The Gift of Song”, starring a host of country music stars. Relocating to LA in the early 90's, she studied at the South Coast Repertory and Beverly Hills Playhouse and has starred in countless stage productions all over LA, including "Blue Moon Dancing" by Ed Graczyk, "In the City for the Summer" (Variety singled out her gritty performance), and the farcical, outrageous "And Then There was Nun" which played to sold out houses for 2 extensions, where she did a hilarious sendup of Gloria Swanson. She was a long time member of the Company of Angels, LA's oldest repertory theatre, winning a Dramalogue Award for her saucy, sword-wielding performance in the mainstage production of “Zastrozzi”. She appeared in an iconic video for Weird Al Yankovic, spoofing Tanya Harding in the "Mmmm Mmmm" song (where she did her own figure skating). She appeared in several episodes of "Days of Our Lives" and had a small but pivotal role in "The Landlady" starring Talia Shire. In 2013, she was cast as one of the three leads in a hilarious coming-of-middle-age web series called "Living the Dream", and in 2015, she had the starring role in "Only the Moon Howls", a moving one act which won the Encore! Award at the Hollywood Fringe Festival. Her performance was singled out for its "deep emotional access" and hailed as "heartbreaking", "truthful", "sensitive" and "vulnerable". A film version of the piece is planned for late 2015. In 2001, she landed a plum role, singing for Betty and President Gerald Ford in Palm Springs. Over the years, she has recorded and performed with some of the greatest jazz musicians on the west coast. She has performed in St. Petersburg, Russia, Dublin Ireland and in west coast venues such as Spazio, Vitello's, The Money Tree, Barone's, Monteleone's, The San Ysidro Ranch (Santa Barbara), Vicky's of Santa Fe (Palm Springs) and the Canyon Club. She appeared with Gary Tole's "Legends of Swing" orchestra and the Doug MacDonald's 13-piece "Jazz Coalition". She currently performs every Thursday at Mixology 101 in the Grove at the LA Farmer's Market with a stellar jazz trio. Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/13da5f46-65d7-47be-b832-20740d7de20d

The band does a lot of time traveling at its rehearsals. In those two hours each week, the guys might start with a rock classic like “Hey Baby,” as they do in this track from last week's get-together.Then in the next moment The Flood Time Machine Lab might transport the lads back to, say, the Roarin' Twenties.There they can sample a song or two of the day, maybe “Dinah” or “Lady Be Good” or “My Blue Heaven.”Then switching gears again, they swoop down into the Thirties or the Forties to toy with tunes from the greats like Hoagy Carmichael (“Georgia on My Mind,” maybe) or Fats Waller (“Honeysuckle Rose”) or Duke Ellington (“Don't Get Around Much Any More”).Then it's back to the Sixties or the Seventies for a bit of Bob Dylan, John Prine or Tom Paxton, Jackson Browne or Neal Young. It's all about rocking the room.This Week's SongThe featured tune this week demonstrates the best part of all that temporal tramping, because it so often lets the guys revisit music of their youth. As reported earlier, “Hey Baby” was a 1961 chart-topper that 17-year-old Bruce Channel wrote with his friend Margaret Cobb. Over the past six decades, the song has brought joy to audiences ranging from the fledgling Beatles when they were starting out back in Liverpool to movie goers years later who packed theaters for films like Dirty Dancing. For more of the song's long history, click here.The Flood started revisiting “Hey Baby” a few years ago when the band was invited to perform it at a very special occasion: the wedding of Floodster Emerita Michelle Hoge; she and Rich Hoge married on May 21, 2022, and The Flood was there for the festivities. Since then, “Hey Baby” has lingered in the repertoire, as you'll hear in this track that started last week's rehearsal at the Bowen House.Want to Do Your Own Time Traveling?If you'd like ride shotgun in The Flood time machine, a new department in the newsletter helps you take your own dash through the decades.Called “Flood Tunes on the Timeline,” the page sorts dozens of the band's performances by the date of the songs' composition. Here's how to use it.Suppose you're in the mood for a little sumpin sumpin from the period that folksinger Dave Van Ronk once wryly called “The Great Folk Scare.” You could visit the tune timeline by clicking here, then scrolling down to “The Sixties” section, where you'll find songs grouped by individual years.For instance, Dylan's “Don't Think Twice, It's All Right” is tucked in under 1962. There's Bob Gibson's “Abilene” in the 1963 list. Paxton's “Ramblin' Boy” comes along in 1964, Eric Andersen's “Dusty Boxcar Wall” is in 1965, and Michael Peter Smith's “The Dutchman” shows up in 1968.Each listed song on the timeline is hyperlinked, so clicking its title takes you to a recent Flood performance. Each entry also has a little (or a lot) of the history of that particular song.The timeline indexes more than a century of music and is regularly updated as new songs and stories are added. Enjoy the ride! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day  A very famous show from a very famous year.  Many feel 1973 was the peak of the band's post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.  This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”  INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                Track #1                                                0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995.  Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out.  I especially love Keith's piano which is featured prominently in this clip. Played:  430 timesFirst:  May 28, 1971 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                Track #6                                                2:21 – 4:20 David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to.  Jerry's voice is still so young and strong.  And the group singing works really well.  Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played:  64 timesFirst:  July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS:                                                           Music Intro:                       Brain Damage                                                                                    Pink Floyd                                                                                    Pink Floyd - Brain Damage (2023 Remaster)                                                                                    0:00 – 1:47             "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]             The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.             The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.             The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.”  Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival.  More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3.    Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride.  The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).  “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA.   SHOW No. 2:                    Weather Report Suite Prelude  (out of China >Rider/Me & My Uncle/Loose Lucy                                                Track #14                                                3:10 – end                                                   INTO                                                 Weather Report Suite Part I  (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break  - 16 songs                                                Track #15                                                0:00 – 1:03 David Dodd:  This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played:         46 timesFirst:  September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast:  October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3:                     Mississippi Half Step Uptown Toodeloo  (Second Set Opener/into Big River/Dark Star)                                    Track #17                                    3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special.  Great story.  Great lyrics:  “what's the point of calling shots, this cue ain't straight in line.  Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert.  ½ Step>Franklin's were especially fun as a one two show opener punch. Played:  236 timesFirst:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS:                 INTRO MUSIC:       Willin'                                                Little Feat                                                Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.                                                0:10 – 1:32                                                1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists.          George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem.  And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1.      Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2.     Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3.     Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4.     Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract:             Dulce Limon – hyrbrid sativa dominant            Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4:                    Dark Star  (Mind Left Body Jam)                                                Track #18                                                34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then.  The truly improvisational side of the Dead and their live performances.  Played:  9 timesFirst:  October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast:  March 24, 1990 at Knickerbocker Arena, Albany, NY, USA                                                 INTO                                                 Eyes of the World  (into China Doll/Sugar Mag as second set closer)                                                Track #19                                                0:00 – 2:25 David Dodd:  “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.  The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise.  A perfect jam tune.  Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses.  First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros.  We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention.  I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.  Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes.  Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set.  Any '73 Eyes will leave you in awe and this one is one of the best. Played:  382 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO  OUTRO:                               And We Bid You Goodnight  (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!!                                                Track #25                                                :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard.  Great reaction from the Deadheads.  Kind of a chills down your spine thing.  I was with One armed Lary and Alex, both had been with us at Deer Creek right before.  Lary stayed for all three nights but Alex had to take off after the first show.  Great times.  Played:  69 timesFirst:  January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast:  September 26, 1991 at Boston Garden, Boston, MA, USA  Thank you for listening.  Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.   .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Apriamo con la strana edizione speciale per il trentennale di Dookie dei Green Day che uscirà su formati improbabili, parliamo di crisi delle discoteche con Lele Sacchi, ospitiamo Eric Andersen e Steve Addabbo per un'intervista con intervista e Mini Live

Rich Ulloa has always been passionate about music. That was evident early on when he established one of the most important independent record stores in the nation with Miami's Yesterday and Today Records. That led to the founding of Y&T Records, which gave birth to the Mavericks, Mary Karlzen and other seminal Florida artists that got their start courtesy of the label. In recent years, Y&T has achieved even greater prominence through several high profile releases, including an all-star tribute album saluting the legendary Eric Andersen and an ongoing series of unreleased Badfinger efforts offered through the cooperation of the Tom Evans and Pete Ham estates.  Rich talks with Lee and Billy about the evolution of the label, his current plans and the enthusiasm for music that brought him to  this point... and well beyond. Check out Y&T Records and their artists online at http://www.ytmusiconline.com/ and http://www.marykarlzen.net/Host Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group and co-founder of the iconic venue The Station in East TN. Billy's new album was released by Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.com Send us a textSupport the showIf you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

Esta semana, en Islas de Robinson, territorio clásico americano, entre 1972 y 1973. Suenan: NEIL YOUNG - "OUT ON THE WEEKEND" ("HARVEST", 1972) / BARBARA KEITH - "DETROIT OF BUFFALO" ("BARBARA KEITH", 1973) / CHRIS DARROW - "TO WHICH CROSS DO I CLING" ("CHRIS DARROW", 1973) / JERRY GARCIA - "LOSER" ("GARCIA", 1972) / J.J. CALE - "I'LL KISS THE WORLD GOODBYE" ("REALLY", 1973) / LEON RUSSELL - "MAGIC MIRROR" ("CARNEY", 1972) / WILLIS ALAN RAMSEY - "GOODBYE OLD MISSOULA" ("WILLIS ALAN RAMSEY", 1972) / STEVE YOUNG - "LONESOME ON'RY & MEAN" ("SEVEN BRIDGES ROAD", 1972) / STEVE BARON - "I'VE THOUGHT A LITTLE BIT" ("A WANDERER LIKE YOU", 1973) / ERIC ANDERSEN - "MORE OFTEN THAN NOT" ("BLUE RIVER", 1972) / DAVID WIFFEN - "SKYBOUND STATION" ("COAST TO COAST FEVER", 1973) / DANNY O'KEEFE - "THE ROAD" ("O'KEEFE", 1972) / Escuchar audio

  Steve Postell is a singer/songwriter/guitarist/composer and producer. Trained at The Mannes College Of Music in New York City, Steve Postell has had a successful, prolific career which spans his days playing with Pure Prairie League, performing on Broadway in shows such as “Evita” and “The Man Of LaMancha,” co-writing the score for the off-Broadway rock musical "Fallen Angel" (starring Living Colour vocalist Corey Glover), touring with Lea Salonga (Miss Saigon, Princess Lea in "Aladdin") as her musical director, and fronting the popular New York City bands, “Chain o' Fools” and “Little Blue”. Steve has written scores for film and television including ESPN's Sportsweek featuring Greg Gumble, and producer Lawrence Kasdan's "Jumpin' At The Boneyard," a 20th century Fox production starring Tim Roth and Samuel Jackson. Steve wrote and produced Jingles for Right Sound Music in New York City for clients including Pontiac, AT&T, Dupont and many others. He has performed live on the Tonight Show with Jay Leno, The Today Show with Katie Couric, The Regis and Kelly and The Regis and Kathie Lee shows. Steve was the composer for the documentary “Dying to Know,” about Timothy Leary and Ram Dass, narrated by Robert Redford. Steve contributed guitar to David Crosby's album, Sky Trails, and has co-written a song for his last released record, “For Free”. Steve's new CD, “Walking Through These Blues”, was recently released on VIVID SOUND. This CD features a host of guests, including David Crosby, Iain Matthews, Tony Furtado, Bekka Bramlett, Jeff Pevar, Greg Leisz and many others. In addition to David Crosby, Steve has worked with John Oates, Jennifer Warnes, Kenny Loggins, Eric Andersen, Iain Matthews, Pure Prairie League, Dan Navarro and many others. He recently contributed engineering and mixing duties to the James Taylor/Carole King live concert film, “The Troubadour Reunion Tour”.  Steve performed on and co-produced a CD for renowned producer/guitarist and songwriter Danny (Kootch) Kortchmar. The CD features a star studded cast including guest appearances by James Taylor, Jackson Browne, David Crosby, and Michael McDonald. This CD led to the formation of a new band, The Immediate Family, which in addition to Steve includes legendary session men Danny Kortchmar, Leland Sklar, Waddy Wachtel & Russ Kunkel. The band has released numerous videos, a live record, 3 EP's and a full length LP of new material on Quarto Valley Records. Their first single, Cruel Twist, reached top 10 on the blues charts. The Immediate Family is featured in an award winning documentary released by Magnolia Films, and directed by “Wrecking Crew” director Denny Tedesco. The Immediate Family recently released “Skin In The Game”, a new full length album of original material.  In the past year Steve has performed on stage in benefits for The Lobero Theater, ONE805 Foundation, and Light Up The Blues Charity with many artists including Shawn Colvin, Stephen Stills, Neil Young, Joe Walsh, John Fogerty, Alan Parsons, and Maroon 5. Steve was in rehearsal to go on tour with David Crosby before David's unexpected passing, and will cherish the time spent putting the show together.

“007 Science: Inside the World of James Bond” is a new exhibit at the Museum of Science and Industry in Chicago, Illinois, USA. Dan and Tom became big fans of this exhibit while attending the Press Day viewing.   They take you inside and highlight many of the items displayed. And they let you know why you will want to attend this exhibit. What's in the exhibit? We won't give everything away. But there are screen-used gadgets from the James Bond movies. These are some of the most well-known gadgets in the James Bond history.  Plus, there are James Bond movie vehicles. Vehicles like the Aston Martin DB5 used in GOLDENEYE, and the Lotus Espirit which was used in THE SPY WHO LOVED ME.   And, there are real-world spy gadgets that the CIA has used to showcase how the Bond gadgets may have had some real-world background. Who did we talk with? Includes a quick interview with Meg Simmonds, Archive Director for Eon Productions, and Eric Andersen, Project Manager of Featured Experiences and Special Projects at the Museum.  They help us understand what is in the exhibit and why.  Meg talks about one gadget that was from a very early James Bond movie. She had never seen it before but was able to track down. And, that gadget is on display in this exhibit!  Which one?! Eric focuses on is the fact that this is the Museum of Science and Industry. So, they want to make sure the exhibit highlights Science, Technology, Engineering, and Math (STEM) throughout.  There are interactive activities and Eric helps us understand what is there, and why kids will like this too. Finally, Chris Corbould, who was the Special Effects Supervisor on all of the James Bond movies from GOLDENEYE through NO TIME TO DIE was there. A separate episode will come out with that interview!  So, take a listen.  Dan and Tom think the “007 Science: Inside the World of James Bond” exhibition is extremely well done. It is a must for any James Bond fan!  Have you gone to see it yet? Let us know your thoughts, ideas for future episodes, and what you thought of this episode by dropping us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will be! Where is the exhibit? The Museum of Science and Industry is located at 5700 DuSable Lake Shore Drive in Chicago.  Check out their website to find out more details.   The exhibit runs from March 007, 2024, to October 27, 2024. You can check out all of our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. Check out our YouTube channel as well. Webpage: https://bit.ly/3ISOnXL

The changing climate creates both significant risks and exciting opportunities for Aon clients. In this special edition of On Aon, Aon President Eric Andersen joins host and Aon's Global Head of Policy and Public Affairs, Bridget Gainer, to discuss the opportunities for progress at the COP28 Conference and how Aon is helping clients mitigate climate risk. [2:08] Two major areas of climate risks and opportunities for clients[4:45] Motivators behind developing risk capital innovation at Aon[5:21] Aon's strategy for employing technology while addressing climate[7:15] Key differences of today's risks from past challenges[15:08] Strategies for supporting clients in transition[16:42] Aon's vision of success following COP28Additional Resources:Aon's websiteAbout COP28 ConferenceAon At COP28: What To ExpectAon: Climate Change and SustainabilityOn Aon Insights: The Role of Insurance in Climate PlansOn Aon Insights: Climate and Supply ChainTweetables:“The innovation that is happening within our own industry is pretty significant and is really going to put our own clients in a better position.” — Eric Andersen“We first have to start with the resilience aspect and protect against the physical risk change.” — Eric Andersen“We need to build confidence in our industry and the role that we can play in dealing with the resilience issues of today.” — Eric Andersen

The Deadcast finishes its season by examining Bob Weir's ambitious Weather Report Suite with collaborator Eric Andersen & following the launch of Wake of the Flood on the band's own label with company president Ron Rakow, plus Yo La Tengo's Ira Kaplan, Erik Davis, & more.Guests: Eric Andersen, Ron Rakow, Steve Brown, Ira Kaplan, Gary Lambert, Michael Parrish, David Lemieux, Brian Kehew, Erik Davis, Scott Metzger, Shaugn O'Donnell, Carey ColesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On November 19, Carnegie Hall will host "Music + Revolution: Greenwich Village in the 1960s," an event celebrating the place and time in music, curated by The Bongos frontman Richard Barone, featuring José Feliciano, Eric Andersen, Vernon Reid, and more musicians. Barone is also the author of a new book of the same name which details that moment in musical history. He joins us to discuss.

Pr. Eric Andersen of Zion Lutheran-Summit, IL and Immanuel Lutheran-Hodgkins, IL The post 3053. Paths to Lutheranism: From Roman Catholicism – Pr. Eric Andersen, 11/1/23 first appeared on Issues, Etc..

#Meglerperspektiv | Exclusiv Small talk with Greg Case and Eric Andersen - A Deeper Dive into Aon's Insighte I had the incredible privilege of hosting Greg Case, CEO of Aon, and Eric Andersen the president of Aon in our latest podcast episode. They shared their valuable insights on Aon, the market, the path ahead, and the exciting opportunities within Aon! A big thank you to both of them for their time and for sharing their wisdom. Stay tuned for this insightful conversation! #Aon #Podcast #Leadership #Insights #meglerperspektiv

The month of June is dedicated to The Sacred Heart of Jesus. Mater Dei Radio Producer, Aaron Arehart, talks with Fr. Eric Andersen about this devotion and the graces we receive.Subscribe to the Morning Blend on your favorite podcast platform.Find this show on the free Hail Mary Media App, along with a radio live-stream, prayers, news, and more.Look through past episodes or support this podcast.The Morning Blend is a production of Mater Dei Radio in Portland, Oregon.

This interview first aired on Thursday the 8th of June, 2022 on ONE FM 98.5 Shepparton. One FM Breakfast announcer Terri Cowley talks to the music director of the Goulburn Valley Concert Orchestra Steven Sargant about their upcoming annual concert. Goulburn Valley Concert Orchestra (GVCO), supported by Riverlinks, will once again present its annual concert as an afternoon performance at 2pm on Saturday the 17th of June at Westside Performing Arts Centre in Mooroopna. The concert carries the sub-title, ‘Local Luminaries' and will shine a light on some of the wonderful artists with which we share our community. This year's concert will showcase a range of musical styles from the symphonic mastery of Dmitri Shostakovich to the cinematic excellence of Ennio Morricone and Erich Korngold, and will finish with the master of American popular melody, George Gershwin. We are also excited to present another premier performance of an original composition, commissioned by GVCO and composed by Eric Andersen. Eric has also teamed up with fellow GVCO composer/arranger Wade Gregory to furnish arrangements for guest Artists ‘Fortessima' who will join GVCO bringing their special vocal style. To purchase tickets head to https://riverlinksvenues.com.au/whats-on/event-details/!/calendar/event/gvco-annual-concert-2023 Listen to One FM Breakfast with Terri Cowley live on weekday mornings from 6am-9am. The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. Contact the station on admin@fm985.com.au or (+613) 58313131 PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1

Eric Andersen was a folkie in Greenwich Village in the sixties, recorded the classic album "Blue River' in the seventies, and is still touring and recording to this day. Eric's still got something to say, he believes music can make a difference, and this is his story.See omnystudio.com/listener for privacy information.

FolkScene presents Grammy Award Winning Producer Steve Addabbo talking about his latest project, "Tribute To A Songpoet - Songs Of Eric Andersen." Interviewed by Allen Larman. Produced and engineered by Peter Cutler. ©FolkScene. It is cool to share FolkScene recordings with your friends, but the reproduction of our programs for commercial purposes is illegal. FolkScene airs on Sunday evenings from 6 to 8 p.m.(PDT) at KPFK 90.7 Los Angeles and online. at www.kpfk.org.

Aon's 2022 Executive Risk Survey includes insights from over 800 CEOs and provides an in-depth look at business leaders' view on risk. This week's host and Aon's President Eric Andersen is joined by Aon's CEO of Commercial Risk Solutions, Lambros Lambrou, and Aon's CEO of Enterprise Clients, Lori Goltermann, for a conversation about the findings of the survey, a potential recession and how leaders can best prepare for the interconnected risks of today, as well as those on the horizon. [1:38] Leaders that inspire Lambros and Lori. [4:00] Top Executive Risk Survey takeaways for managing risk as we enter 2023. [8:13] Three components of effective climate change management. [10:43] How prepared leaders are focusing their investments on climate change.[14:25] Understanding the interconnectivity of risks.[19:15] How Aon is helping clients make better risk management decisions in 2023.[25:15] The last book that Lori read and Lambros' typical morning routine. Additional Resources:Aon's 2022 Executive Risk SurveyForbes: Sustainability In Times Of Volatility - What Aon's 2022 Executive Risk Survey Means For Your BusinessOn Aon Podcast Episode 39: On Aon's View on Challenging Economic Times – Part One with Eric Andersen and Leslie FollmerThe One Brief: Greg Case: How Business Leaders Are Preparing for the “Great Volatility”Aon's websiteTweetables:“Embracing risk in uncertain times is the only option.” — Lambros Lambrou“Addressing risk isn't a choice, it's a matter of survival.” — Lambros Lambrou“Risk management is a real differentiator and competitive advantage when navigated appropriately.” — Lori Goltermann“Climate is a good example of where we see prepared leaders continuing to focus their investments over the long term.” — Lambros Lambrou“The commitments that we're making to transparency and disclosure are so much deeper today than it ever has been before.” — Lori Goltermann

Steve Postell is a singer/songwriter/guitarist/composer and producer. Things are rocking in Los Angeles. KATONAH STUDIOS in Marina Del Rey continues to stay busy as we have our own little version of Muscle Shoals, with a great community of players contributing to the productions. Steve was the composer for the documentary “Dying to Know,” about Timothy Leary and Ram Dass, narrated by Robert Redford. Steve contributed guitar to David Crosby's last solo album, Sky Trails, and has co-written a song for his newly released record, “For Free”. Steve's new CD, “Walking Through These Blues”, was recently released on VIVID SOUND. This CD features a host of guests, including David Crosby, Iain Matthews, Tony Furtado, Bekka Bramlett, Jeff Pevar, Greg Leisz and many others. In addition to David Crosby, Steve has worked with John Oates, Jennifer Warnes, Kenny Loggins, Eric Andersen, Iain Matthews, Pure Prairie League, Dan Navarro and many others. He recently contributed engineering and mixing duties to the James Taylor/Carole King live concert film, “The Troubadour Reunion Tour”.  Steve performed on and co-produced a CD for renowned producer/guitarist and songwriter Danny (Kootch) Kortchmar. The CD features a star studded cast including guest appearances by James Taylor, Jackson Browne, David Crosby, and Michael McDonald. This CD led to the formation of a new band, The Immediate Family, which in addition to Steve includes legendary session men Danny Kortchmar, Leland Sklar, Waddy Wachtel & Russ Kunkel. The band has released numerous videos, a live record, 3 EP's and a full length LP of new material on Quarto Valley Records. Their first single, Cruel Twist, reached top 10 on the blues charts. The band will be featured in a documentary by “Wrecking Crew” director Denny Tedesco. Their new full length record will be released in conjunction with the roll out of the film. Steve continues to preside over his band THE NIGHT TRAIN MUSIC CLUB, a rotating collaboration which has featured many legendary artists including David Crosby, Jackson Browne, David Pack, Paul Barrere, Steve Ferrone, Albert Lee, Jeff Bridges and numerous others. As if all of this isn't keeping Steve busy enough. He has just been added to the musician line up in David Crosby's band - David Crosby & Friends. Stay tuned for some great stuff just around the corner!

Today we talk with coffee roaster Eric Andersen of Fresh Ground Roasting about roasting, coffee, and coffee's place in today's church.GET FREE SHIPPING WITH YOUR FRESHGROUND ROASTING ORDEROur listeners can order some amazing coffee from FreshGround Roasting and get free shipping by using this link, or by using the “DocAndDevo” discount code at checkout. Offer is good through April 30th!And if your church is looking to get set up with great coffee for your congregation hit the "Wholesale" link at the top of their website for information and how to reach out to get the ball rolling.Support this podcast at — https://redcircle.com/doctrine-and-devotion/exclusive-contentAdvertising Inquiries: https://redcircle.com/brands

American Songster Radio is a new monthly show hosted by GRAMMY Winner and Two-Time EMMY nominee, Dom Flemons. In this episode Dom visits with legendary folk music singer-songwriter Eric Andersen. Throughout this brand new season, each episode will explore a wide range of songs within the American roots music genre and invite listeners into the theme of “music that changed your life”. These tradition-bearers helped build the foundation of roots music and their recordings give us a look into the past. Dom has curated two Spotify playlists for this episode! You can hear all of those great songs by clicking here for Part 1 of the interview, and here for Part 2.

Ontario's Don Graham has his version of "The Hustler" (produced by John Dawson) included on the new 3 CD Tribute To A Songpoet: Songs Of Eric Andersen. Don was inspired by Eric to pick up the guitar in the first place and, years later, the two became friends. Tune in to hear some great stories from Don plus I'll play his take on "The Hustler".

Over the course of three weeks, we'll hear from Aon colleagues on how economic challenges are impacting all solutions, clients and colleagues in a special edition takeover of the “On Aon” podcast. This week, host and Aon's U.S. President, Charles Philpott, welcomes Head of Human Capital Solutions, North America, Brooke Green; Large Market Segment Leader for Health Solutions, North America, Kim Hurst and Head of U.S. Retirement, Jennifer Brasher; to discuss the challenges that HR leaders are facing given increased economic volatility.  [2:39] The key challenges that today's economy has caused HR leaders. [4:53] The unexpected ripple effect that economic volatility has on the market at large. [7:29] The main factors causing change in the retirement landscape.[10:30] HR considerations as we enter 2023. [12:54] How Aon is supporting clients in these uncertain times.[15:32] Ideas to help employees think about saving for retirement. [21:26] Jennifer, Brooke and Kim share one word to inspire HR managers navigating these challenging times.  Additional Resources: New Aon Research Shows Prepared Leaders Embrace Risk And Make Better Decisions During Economic Uncertainty Inflation is Influencing Business Risk Management — Take Steps to Mitigate its Impact  Aon 2021 Global Wellbeing Survey 38: On Aon's Balancing of Inflation and Employee Benefits with Dave Guilmette 39: On Aon's View on Challenging Economic Times – Part One with Eric Andersen and Leslie Follmer 40: On Aon's View on Challenging Economic Times – Part Two with Joe Peiser Aon's website Tweetables:“What we know from previous recessions is that companies start to take a look at what and who they're spending money on.” — Brooke Green“More and more employers are asking their employees what they value.” — Kim Hurst“Employer communication and education is key to get employee savings to the right amount for retirement.” — Jennifer Brashe

Over the next three weeks, we'll hear from Aon colleagues on how economic challenges are impacting all solutions, clients and colleagues in a special edition weekly takeover of the “On Aon” podcast. This week, Aon's President, Eric Andersen, and Aon's Head of Investor Relations and ESG, Leslie Follmer, sit down with host and Aon's North America CEO, Jennifer Bell, for a conversation about the challenges that organizations are facing given increased economic volatility. [2:20] Volatility in 2022 and key market indicators [5:03] Reasons for and results of slowing growth expectations [6:45] Aon's strategy for rising inflation [11:30] Indicators of recession and Aon's response [17:30] Client solutions and innovative efforts [21:37] Leslie and Eric's optimistic outlook for the end of 2022 Additional Resources:New Aon Research Shows Prepared Leaders Embrace Risk And Make Better Decisions During Economic UncertaintyMaking Better Decisions in Uncertain Times: Aon's 2022 Executive Risk SurveyIncreasing Inflation: Key Considerations for Employers Looking to Provide Better SupportThe Impact of Inflation on Employee Benefits and Considerations for BusinessesInflation is Influencing Business Risk Management — Take Steps to Mitigate its Impact Aon's websiteTweetables:“We've gone from really strong growth around the world last year to a market this year where you've got growth expectations slowing down a lot.” — Leslie Follmer“The topic of inflation is such a real-world topic in terms of its impact on our clients, our colleagues and our business decisions.” — Eric Andersen“There is so much happening in our business, we want to make sure we're investing in the future.” — Eric Andersen

 While Charlie has given his new banjo a nickname — it's “Buzz Kill” to us in the Flood— the instrument actually does have its moments, especially when then tune on the table turns out to be of the old folksong variation. Here — as Danny, Randy, Sam and Charlie have a go at this classic Eric Andersen tune from the 1960s — the banjo brings a nice little trot.

One of the wonderful things about the folk tradition in music is that you learn so much from people you know, sometimes from relatives, but more often from good friends. Terry Goller, a remarkable singer and guitar player who taught our whole community about folk music, was — long before we even formed The Flood — one of those inspiring friends.Terry was on hand for some of the seminal moments in the earliest days of The Flood's history. And in our antediluvian history as well. For instance, as illustrated above, Goller was one of the first to recognize in the late 1960s the budding Autoharp prowess in his good friend David Peyton.And a few years later, Terry was the headliner on that magical winter night in 1971 at Ashland (Ky.) Community College, the evening we have called the genesis of the band. As we noted in an earlier report here, Goller shared the stage that night with Brother Peyton and his partner, fellow Flood co-founder Roger Samples, while Pamela and Charlie Bowen sat in awe in the audience. Not only that, in August 1972, Terry and his wife Pat were at the very first of those “Bowen Bash” music parties where he introduced us to the music of an exciting new singer/songwriter named John Prine, blowing everyone away. Terry always tapped into The Next Big Thing. Working on several popular local radio shows, he also was often teaching guitar at music shops and performing at parties and at local folk venues. Though quite busy, he nonetheless usually had time show us a few licks and to tell us the history of the tunes he was playing. (Yes, our love of musical storytelling owes much to Mister Goller.)Terry died nearly 40 years ago this month, but he's still often on our minds. For example, one of the songs that cropped up at the end of last week's rehearsal traces directly back to Terry and to our earliest days with him. In fact, the very first time we ever heard "Dusty Boxcar Wall," it was being sung by Terry Goller and his buddy Dave Bias in the summer of 1967 at the Summit Coffee House on Marshall University's campus, a beloved venue that Terry himself was instrumental in establishing when he was a sophomore there.About the SongSo the song was very new when Goller and Bias started singing it. Just two years earlier it had been introduced by composer Eric Andersen on his debut album for Vanguard, “Today is the Highway.” It has been said that Andersen was the first of the “new Dylans” among the mid-'60s folksinging upstarts. And about the same time that the original Dylan was settling in and conquering New York's Greenwich Village, Eric was dropping out of college in Geneva, NY, and hitchhiking west to San Francisco to try his luck singing solo in North Beach coffeehouses and seeking out the poets of the Beat Generation. In liner notes for that first album, Stacey Williams said “Dusty Boxcar Wall” was written “on the Bay Bridge between Berkeley and San Francisco,” adding, “Eric had been performing at the Cabale coffeehouse in Berkeley with a city group that did country music, The Snopes County Camp Followers.”Wanting to do a solo with the Snopes group, according to Williams, Andersen wrote “this archetypal song of death, love and separation.” By the way, Berkeley's famed Cabale coffeehouse was founded in late 1962 by folksinger Debbie Green, who later became the first Mrs. Eric Andersen.Our Take on the TuneFlash forward 60 years to the Bowen house.While Charlie has given his new banjo the nickname of “Buzz Kill,” the instrument actually does have its moments, especially when the tune on the table is of the old folksong variation. Here — as Danny, Randy, Sam and Charlie have a go at this classic Eric Andersen tune — the banjo brings an appealing little lope. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Trade Martin is an American musician, songwriter and producer.Grammy award-winning multi-instrumentalist, Trade Martin, possesses one of the most gifted musical minds and voices in the entertainment spectrum.Trivia: Trade Martin's song "Take Me for  a Little While" is sampled on "Ghost Town" is a song by rapper Kanye WestBUT Trade has Worked with the Legends Like Levi Stubbs of the Four Tops Producer, Phil Spector, Been a Session Musician, of famous  Grammy® Award Winning songs, From the Brill Building to Iconic Commercials for Pepsi. Thru the Decades of Music a Mix of Genre's are happening & Trad was a part of the scene Trade Martin's career has covered so many eras of music — as a producer, arranger, songwriter, and even occasionally as a recording artist — that he's almost impossible to pin down as a musical figure. In the late '50s, in a partnership with Johnny Power, he began recording acts such as Johnny & the Jokers and released their work on the Harvard Records label before the two formed Rome Records in 1960. Rome only lasted until 1962, weighted down by its lack of reliable distribution, which prevented the company from succeeding despite signing such talent as the Earls (who went on to score their hits for Old Town Records), Del & the Escorts, and the Glens. Martin usually played all of the instrumental accompaniments for these groups, overdubbing the instruments one at a time. In 1963, following the demise of the Rome label, Martin left the partnership and recorded under his own name on Roulette and other labels through the end of the '60s, and even got an entire LP, Let Me Touch You, out on Buddah Records in 1972. His main activity and success, however, were rooted in his work as a producer, arranger, and songwriter, functions that he has performed over the years in idioms ranging from '60s girl group pop/rock, folk, and electric blues to '70s funk and '80s dance-pop. He has also worked with artists such as Eric Andersen, Ellie Greenwich, Lesley Gore, the Tokens, Ian and Sylvia, Rick Nelson, B.B. King, B.T. Express, Pam Russo, and Solomon Burke. What's more, his songs have been recorded by the likes of Dusty Springfield ("Take Me for a Little While"), Patti LaBelle & the Bluebelles, B.B. King ("Peace to the World"), and Dave Edmunds ("Don't You Double Cross Me"). He has also written and produced a handful of film soundtracks.Martin wrote several film scores. Credits include Made for Each Other, Hail, Stormy Monday, The Inkwell, It's My Party, and West New York.[https://www.trademartinmusic.com© 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Incumbent Councillor and long time resident, Eric Anderson joins the Sea to Sky Podcast to talk about the 2022 Campaign, the pressing political topics facing Squamish in the upcoming term and his experiences from the last four years. A multi lingual, research and communications consultant who has worked in the forestry, wood products, bioenergy, tourism and transportation industries, Eric brings a diverse outlook to Council. facebook.com/ericandersenforsquamish

This might be my favorite episode because the hill is such a good one and it ties into music. That's all i'm going to say about it. Take a listen and thanks to Eric for guesting on the show. --- Support this podcast: https://anchor.fm/eric-stangeland/support

Welcome to the 24th episode of the 2022 season! Eric Andersen, MSU Extension Field Crops Educator, hosted Mike Staton, MSU Extension Soybean Specialist, who spoke about the best ways to reduce yield losses during harvest including timing and equipment. Also, a weather update from Dr. Jeff Andresen. To learn more and register for the live event, check out the MSUE Virtual Breakfast page. 

Digital identity wasn't a big part of the conversation when the internet was invented. But now, it has become a central concern for users because of how personal data ends up being used by enterprises for monetization and other purposes. Innovators in the Web 3.0 space are trying to put the power back in the people's hands by changing the way we look at digital identity and shaping the way it's going to look like in the internet of the future. Joining our hosts in today's show are two power couples who are leading an amazing collaboration in this space. Alastair Johnson and Seema Khinda Johnson of Nuggets and James Young and Anjali Young of Abridged, the makers of CollabLand, are tackling a foundational issue that's going to affect everything that's forthcoming in the world of Web 3.0. Tune in and learn more about digital identity, digital rights, and how the way our data moves around the internet will change forever, and for the better. Plus, for our hot topic of the episode, we are joined by Bill Spata and Eric Andersen of DevTeamSix, who are in the thick of something that is going to be a game-changer in the play-to-earn space. Stay tuned for more!More from Edge of NFT:

Digital identity wasn't a big part of the conversation when the internet was invented. But now, it has become a central concern for users because of how personal data ends up being used by enterprises for monetization and other purposes. Innovators in the Web 3.0 space are trying to put the power back in the people's hands by changing the way we look at digital identity and shaping the way it's going to look like in the internet of the future. Joining our hosts in today's show are two power couples who are leading an amazing collaboration in this space. Alastair Johnson and Seema Khinda Johnson of Nuggets and James Young and Anjali Young of Abridged, the makers of CollabLand, are tackling a foundational issue that's going to affect everything that's forthcoming in the world of Web 3.0. Tune in and learn more about digital identity, digital rights, and how the way our data moves around the internet will change forever, and for the better. Plus, for our hot topic of the episode, we are joined by Bill Spata and Eric Andersen of DevTeamSix, who are in the thick of something that is going to be a game-changer in the play-to-earn space. Stay tuned for more!

positive platters from: Reg Owen,Potliquor, Arthur Conley,Hank Ballard, Todd Rundgren,Magic Mushroom Band,William Truckaway, Sweetwater,Eric Andersen, Yays and Nays,and more!As broadcast live via 6160kc 08-27-22

Today we got a double header on the podcast. First off is guitar legend, Kenny Wayne Shepherd. We talk about guitars, amps, meeting SRV a couple times, his new festival he's rolling out and the Battle, Axe and Tracks show he is headlining in Reno. For more info on Kenny, follow him here: https://www.kennywayneshepherd.net My second guest is the multi talented, Eric Andersen. We talk in detail about the Battle, Axe and Tracks festival that Eric is also playing and we have a great conversation about the music industry. For more info on Eric, follow him here: https://erichenryandersen.com --- Support this podcast: https://anchor.fm/eric-stangeland/support

Fr. Eric Andersen, Pastor at St. Stephen's Church in Portland, talks about Our Lady of Mt. Carmel. https://the-morning-blend.captivate.fm/ (Subscribe to the Morning Blend) on your favorite podcast platform. Find this show on the free https://materdeiradio.com/hail-mary-media-app/ (Hail Mary Media App), along with a radio live-stream, prayers, news, and more. Look through https://materdeiradio.com/category/morning-drive/ (past episodes) or https://forms.ministryforms.net/viewForm.aspx?formId=f861df13-50f6-4182-8712-b794ec287dfb (support this podcast). The Morning Blend is a production of https://materdeiradio.com/ (Mater Dei Radio) in Portland, Oregon.

In the 12th episode of Unreserved, Aon president Eric Andersen sits down with Inside P&C's acting managing editor, Adam McNestrie.The executive explains that net new markets can buttress broker growth as the momentum from P&C pricing and strong economic growth dissipates. He also dismissed the critique that Aon is a “great stock, not a great company”, and rejected the idea that brokers are able to control the pricing cycle.

Father Eric Andersen joins us to discuss devotion to the Sacred Heart of Jesus. Father is pastor of https://www.saintstephenpdx.com/ (Saint Stephen's Catholic Church) in Portland. https://the-morning-blend.captivate.fm/ (Subscribe to the Morning Blend) on your favorite podcast platform. Find this show on the free https://materdeiradio.com/hail-mary-media-app/ (Hail Mary Media App), along with a radio live-stream, prayers, news, and more. Look through https://materdeiradio.com/category/morning-drive/ (past episodes) or https://forms.ministryforms.net/viewForm.aspx?formId=f861df13-50f6-4182-8712-b794ec287dfb (support this podcast). The Morning Blend is a production of https://materdeiradio.com/ (Mater Dei Radio) in Portland, Oregon.

È il momento di “Nota sulle note” ventiquattresima puntata del programma musicale settimanale, nel quale annoto per voi piccoli appunti prima di lasciarvi ai brani scelti, che di puntata in puntata andiamo a conoscere. Oggi ci occuperemo del Contemporary Folk Music. Il Folk è un termine di origine inglese usato per indicare un genere musicale che si è sviluppato nella seconda metà del Novecento. La parola deriva dall'anglosassone “Folk Lore”, coniato dall'antiquario inglese William Thoms nel 1846 per descrivere le tradizioni, costumi e superstizioni delle classi non istruite. A partire dalla seconda metà del Novecento molti artisti iniziarono a sviluppare nuove forme di popular music, ispirate alla musica Folk tradizionale, alle quali oggi gli inglesi si riferiscono con il termine di “Contemporary Folk Music”, ovvero musica Folk contemporanea, ovvero non tradizionale. Questa tipologia di musica tradizionale prende piede anche e soprattutto in America. La scena Folk americana in generale è caratterizzata da: strumenti acustici americani ed inglesi, musica Celtica, Blues, musica dei nativi americani e Klezmer (derivato dall'ebraico Kley Zmer: “Strumento musicale”. Gli strumenti tipici sono: chitarra acustica, fisarmonica e armonica a bocca. Ascolteremo: Forever Yung (Bob Dylan), That's not the way it feels(Oparator), Try to remember(Harry Belafonte), Calling me home (The Seekers), Diamonds and rust (Judy Collins e Joan Baez), Against the wind (The Highwayman), Rain falls down in Amsterdam 2001 (Eric Andersen), This land is your land(Bruce Springsteen), True love will never fade(Mark Knopfler), We shall overcome(Pete Seeger), Suzanne(Leonar Choen). Buon ascolto da Lorella Turchetto Michieli --- Support this podcast: https://anchor.fm/radio-nostra/support

Natural disasters are increasing in frequency and severity. Aon's 2021 Weather, Climate and Catastrophe Insight Report evaluated how these disruptive events are resulting in global economic losses and outlined how leaders can address and assess these risks.To walk us through what businesses can do to build resilience and prepare for the inevitable impact of catastrophes, Aon's President, Eric Andersen, has a discussion with host Alexandra Lewis about how Aon is working to protect and enrich lives around the world against the threats of extreme weather and natural catastrophes. They discuss Aon's work to mitigate the impact of catastrophic events and the key findings from Aon's 2021 Weather, Climate and Catastrophe Insight Report. [1:28] The key catastrophic events that have shaped Eric's career focus.[3:20] The value of Aon's report to clients.[4:42] Which findings from the report were the most surprising?[6:24] What can businesses do to protect themselves against catastrophic events?[8:15] The next key steps on Aon's innovation agenda.[9:45] Tips for finding roles and building a meaningful career with Aon.[11:15] How Eric spends his limited free time.Additional Resources:Climate Change is Also Having an Impact on Everyday Health and Wellbeing - The One BriefAon: $343 Billion In Global Weather-, Catastrophe-Related Economic Losses Reported In 2021, Up From $297 Billion In 2020Aon's 2021 Weather, Climate and Catastrophe Insight ReportEp 10: On Aon's Analysis of Climate and Catastrophic Events with Meteorologist Steve BowenEmployment Opportunities at AonAon's websiteTweetables:“People tend to downplay the risk or the significance of natural disasters and climate issues.” — Eric Andersen“The goal with a report like this is to give our clients information that they can act on.” — Eric Andersen“Clients are looking to us to help them think through how to manage all the aspects of climate risk or any real impact to their business.” — Eric Andersen

Heavy Radio Episode 44 featuring Fredrik Nordström of Dream Evil and owner of Studio Fredman in Gothenburg, Sweden. http://www.studiofredman.com Marco and Eric Andersen dig into many of the amazing albums that Fredrik has been a part of. Studio work, playing music, and putting out the call for an artist that Fredrik would like to work with in the future. This episode we weave through the career of Fredrik Nordstrom and we get into some new music that you can dig into right now! Get Heavy!

Fr. Eric Andersen, pastor at https://www.saintstephenpdx.com/ (St. Stephen's Catholic Church) in Portland is live in studio today. 4 times a year the Church celebrated the Ember Days, Fr. Eric talks with Brenda about what we can do.

Randy Rogers y Wade Bowen con su segundo volumen del proyecto conjunto Hold My Beer, con 10 nuevas canciones y un tema central perfecto para abrir nuestro porche en este domingo en el que encontramos a Miles Gannet, que ha filtrado con un acierto especial texturas de bluegrass con folk y country clásico, e incluso algo de blues, antes de que nos fijemos en Jason Smith, uno de los más respetados banjistas de los nuevos tiempos. Un instrumentista de Galax, en Virginia, que forma parte de la Dan Tyminski Band, que le han ayudado, con su líder al frente, en el anticipo de un nuevo disco en solitario. Liz Simmons nos ha regalado un álbum delicioso, autoeditado y autoproducido, que se titula Poets y donde canta sobre el entorno social de estos tiempos con amor y la muerte como protagonistas. El espíritu de Waylon Jennings en clave femenino está impreso en The Waylon Sessions, el nuevo disco de Shannon McNally, dando una nueva dimensión a temas que en principio parecen extremadamente simples. Marty Stuart nos va dejando en su último proyecto, Songs I Sing In The Dark, una colección de 20 temas que le han ayudado a superar los momentos difíciles de esta pandemia. Willie Nelson no podía faltar y “One In A Row” es una de esas canciones siempre recordadas. Jon Randall ha vuelto para grabar “Keep On Moving”, su primera canción en solitario tras mucho tiempo. Ni más ni menos que 15 años. También ha regresado Cale Tyson, que nos había dejado huérfanos en los últimos dos años hasta que hemos conocido “Alone”, un tema sobre ese cierto sentimiento de locura que se va apoderando de uno al pensar en su ex saliendo con otra persona. También hemos recuperado a Darden Smith, nacido en una granja de Brenham, que se ha marchado a The Bunker para acogerse al proyecto The Next Waltz y grabar de nuevo "Two Dollar Novels", una de sus composiciones más brillantes. En los paisajes de Greenwich Village se han movido una cantidad ingente de músicos, literatos, actores y bohemios. Entre ellos encontramos a algunos menos conocidos para la gran mayoría, pero de especial significado en cuanto a su faceta de cantante y compositor. Es el caso de Eric Andersen, un nativo de Pittsburgh, en Pennsylvania, que marchó a Nueva York en los primeros años 60 y formó parte activa de la escena folkie de Manhattan, junto a Phil Ochs o Bob Dylan. Ahora, la televisión pública estadounidense presenta The Songpoet, un documental en el que descubrimos un buen número de curiosidades sobre su personalidad y sus relaciones. Eso nos permite rememorar dos de sus temas emblemáticos en la despedida del programa de hoy. Escuchar audio

Special guests Eric Andersen, Ron Vogel and Austin Sutter join the guys for some stories and how they ended up coaching Texas youth hockey.Follow us on Instagram https://www.instagram.com/jovo513/?hl=enhttps://www.instagram.com/donniemargettie/https://www.instagram.com/chirphockeyofficial/Sponsored by:Rhino Linings & Truck Accessories of Midlandhttp://tx.midland.rhinotruckbedliners.com/rhino_truckbed_liners_midland_tx_79703_69380.html

Esta semana en Islas de Robinson, clásicos norteamericanos en cruce de caminos entre el folk, el country y el rock. Tiempos inciertos, 1967-69, con música a paso seguro: calidad indiscutible. Suenan: BREWER & SHIPLEY - "I CAN'T SEE HER" ("DOWN IN L.A.", 1968) / NEIL YOUNG - "I'VE BEEN WAITING FOR YOU" ("NEIL YOUNG", 1968) / THE EVERLY BROTHERS - "TURN AROUND" ("ROOTS", 1968) / BEAU BRUMMELS - "CHEROKEE GIRL" ("BRADLEY'S BARN", 1968) / HEARTS & FLOWERS - "SECOND-HAND SUNDOWN QUEEN" ("OF HORSES, KIDS AND FORGOTTEN WOMEN", 1968) / ERIC ANDERSEN - "MISS LONELY ARE YOU BLUE" ("MORE HITS FROM TIN CAN ALLEY", 1968) / BUFFY SAINTE- MARIE - "SUMMER BOY" ("FIRE & FLEET & CANDLELIGHT", 1967) / TIM BUCKLEY - "PLEASANT STREET" ("GOODBY AND HELLO", 1967) / DILLARD & CLARK - "SOMETHING'S WRONG" ("THE FANTASTIC EXPEDITION OF DILLARD & CLARK", 1968) / THE DILLARDS - "NOBODY KNOWS" ("WHEATSTRAW SUITE", 1968) / THE BYRDS - "ONE HUNDRED YEARS FROM NOW" ("SWEETHEART OF THE RODEO", 1968) / JOAN BAEZ - "ONE TOO MANY MORNINGS" ("ANY DAY NOW", 1968) / BOB DYLAN - "TELL ME THAT IT ISN'T TRUE" ("NASHVILLE SKYLINE", 1969) / Escuchar audio

On this episode of Next Up, Accessories, we’re talking to Eric Andersen, the President of the College of Automotive Management. Class is in session as we discuss the benefits of dealership personnel training and how it can make you happier customers while making more money.

Brenda talks to Fr. Eric Andersen about celebrating the Year of St. Joseph The post Morning Belnd Guest: Fr Eric Andersen, Year of St. Joseph appeared first on Mater Dei Radio.

Neil Young es otro de los artistas que no ha estado inmóvil en estos tiempos. A finales de noviembre se va a publicar el segundo volumen de sus Archivos con una caja de edición limitada que incluye 10 álbumes abarcando el periodo que va entre 1972 y 1976, con 131 canciones, de las que 12 son inéditas y hay 49 versiones nunca escuchadas hasta ahora. Uno de los mejores ejemplos es "Come Along And Say You Will", que se encuentra en el primer disco de este proyecto y que ha llamado Everybody’s Alone. Aquella canción se grabó en un período especialmente fructífero para el músico canadiense entre los álbumes Harvest y Time Fades Away. Junto a Neil Young encontramos a Kenny Buttrey en la batería, Tim Drummond como bajista y Ben Keith en el Steel guitar. Aquel tema fue habitual a comienzos de 1973 en sus conciertos, desapareciendo muy rápidamente de su repertorio. Ahora vuelve a tener la importancia que nunca debió perder. Por supuesto, no podemos olvidarnos de los músicos que tenemos más cerca, y ese es el caso de Carlos Prado & Oh Brother, una banda del País Vasco que lanzó el álbum The End of the Road hace casi un año, pero al que no han podido dar recorrido en directo debido a la pandemia. Este trabajo autoeditado tiene diez canciones propias en las que se cuida con mucho gusto las armonías vocales y en las que los aires del sur de California no les son ajenos. Con Javier Urréjola al saxo, aquí está “Second Hand Lover”, uno de los cortes que te anima a seguir confiando en ellos. Brent Cobb ha vuelto a regalarnos un disco indispensable con los mejores paisajes sonoros de ese punto de encuentro entre el country y el rock. A nivel de textos, la narrativa de este nativo de Georgia ha ganado en profundidad. Keep 'Em on They Toes expresa desde su título la necesidad de ser únicos, pero como parte de un conjunto que nos une, por lo que el respeto es la base esencial. Todo ello con la sensación de estar dando un paseo por el campo y descansar después en el porche de casa con una sensación de tranquilidad y quietud. Brent Cobb ha prescindido de su primo Dave Cobb para la producción y se ha aliado con Brad Cook. También ha preferido publicarlo en su propia compañía, Ol ’Buddy Records, en vez de en Elektra. Esta filosofía de la sencillez se muestra en canciones como “Good Times And Good Love”, con ese toque familiar que Don Williams, dio siempre a sus canciones y a su forma de vida. "Only Children", la historia inundada con un sentimiento de nostalgia de dos personajes bohemios, es una de las más bellas canciones que formaron parte de la última aventura sonora de Jason Isbell And The 400 Unit, Reunions. Tomando el relevo a The Nashville Sound, publicado tres años antes, el registro ha sido producido con la maestría habitual de su viejo amigo Dave Cobb que ha cincelado un disco en el que contribuyeron con su presencia David Crosby y Jay Buchanan, cantante de Rival Sons. Ahora, aprovechando estos tiempos de aislamiento, ha lanzado un vídeo de la canción con la que pueden sentirse identificados un buen número de jóvenes de las grandes ciudades y que se encuentra a medio camino entre American Graffiti y Pulp Fiction. Tiene como protagonista a dos adolescentes y una mochila luminiscente que se cae de la parte trasera de un camión. Jamestown Revival lo componen Jonathan Clay y Zach Chance, dos amigos de la infancia nativos de Magnolia, en Texas, y que ahora están asentados en Austin. Su nombre tiene que ver con Jamestown, en Virginia, uno de los primeros asentamientos de Estados Unidos, y su admiración por Creedence Clearwater Revival. Siempre han sido dados al minimalismo conceptual y el aislamiento, pero ahora lo expresan con mayor intensidad en su más reciente EP, A Field Guide to Loneliness, con recuerdos para quienes lo están pasando peor en esta pandemia, especialmente las personas de más edad, que resultan ser las de más riesgo. “Slow Motion Hurricane” es una de esas canciones plácidas que dan sentido al trabajo. Esta vez damos el salto hasta Asheville, en Carolina del Norte para encontrarnos con Tyler Ramsey, antiguo miembro de Band Of Horses, un compositor y cantante que hace tres años empezó a recuperar algunos de sus temas más antiguos para adaptarlos a su propia banda. Aquel proyecto quedó plasmado en For The Morning, un precioso disco de 2019 que ahora tiene continuación con un nuevo EP, Found A Picture Of You, con un puñado de versiones inesperadas, todas ellas de artistas femeninas. Desde “All Through The Night”, que cantó Cyndi Lauper a mitad de los 80, hasta “Tomorrow On The Runway” The Innocence Mission, llegamos a “Back on the Chain Gang” que los Pretenders colocaron en su tercer álbum, Learning to Crawl en el 84 y para la que ha contado con el apoyo vocal de Annie Williams. Producidas por el propio Tyler Ramsey y contando con Bill Reynols, otro de los desertores de Band of Horses, en la mesa del estudio Fleetwood Shack de Nashville, Found A Picture Of You incide en sus habilidades como guitarrista, con evidentes influencias de John Fahey y Leo Kottke. El espíritu viajero de Malin Pettersen se manifiesta en Wildhorse, el nuevo disco de esta joven noruega que ha saltado el océano para identificarse directamente con los sonidos de la Americana. Son canciones sobre viajes, búsquedas y descubrimientos, con el espíritu de un caballo salvaje. En resumen, son composiciones sobre la propia vida y cómo entender el mundo en que nos encontramos. Malin Pettersen viajó hasta Nashville para grabar este según álbum de su corta carrera junto a músicos que conocen de primera mano cómo funciona la escena de la Music City y que han estado al lado de artistas como Colter Wall o Kacey Musgraves. De esa forma nos encontramos ante una extensa paleta de colores que abarcan desde el honky tonk al country pasando por los sonidos de la Costa Oeste como en el caso de “California”, un tema perfecto para viajar con las ventanillas del coche bajadas y el volumen de la radio bien alto. Cansados de determinadas situaciones y, más aún, de determinadas posturas, Rosanne Cash y su marido, John Leventhal, han compuesto y publicado “Crawl Into The Promised Land”, una canción que transforma las emociones de un año tan inesperado como este 2020 en una oda a la resistencia del ser humano y un llamamiento al inconformismo personal. John Leventhal realizó las labores de producción, además de tocar todos los instrumentos, y para su grabación contaron con las voces de Sarah Jarosz y Jakob Leventhal. Las ganancias del sencillo se donarán al Arkansas Peace & Justice Memorial Movement, una organización educativa online para apoyar a las víctimas de linchamientos en el estado de Arkansas, donde nació el Man in Black. Por sorpresa, nos hemos encontrado con la publicación de Johnny Cash and The Royal Philharmonic Orchestra, un álbum que ha contado con la producción ejecutiva de John Carter Cash, hijo del Hombre de Negro y en el que se ha utilizado la voz del mítico artista en una docena de canciones clásicas para mezclarla con nuevos arreglos sinfónicos grabados en el estudio 2 de Abbey Road de Londres con la Royal Philharmonic Orchestra. Así ha quedado por ejemplo “Farther Along”, una canción sureña de góspel que trata sobre el desconsuelo de un cristiano ante el aparente bienestar de los no creyentes y el sufrimiento de los justos. A lo largo del tema se insiste en que "más allá" la verdad será revelada. Ha contado con multitud de versiones desde que apareció en una edición impresa de himnos de 1911. Johnny Cash la grabó en 1975 para su álbum Johnny Cash Sings Precious Memories, el quinto dedicado a canciones religiosas de su carrera. El Johnnny Cash Show, que se grababa en el Ryman Auditorium de Nashville, estuvo en antena en la cadena de televisión ABC apenas dos años, de junio del 69 a marzo del 71, pero fue un espacio que permitió conocer a muchos de los nuevos nombres del country y el folk de la época. Johnny Cash invitó a su show semanal a artistas como Bob Dylan, Joni Mitchell, James Taylor, Glenn Campbell, Merle Haggard, Kenny Rogers & The First Edition y banda de rock como la Creedence Clearwater Revival o Derek And The Dominos, que aparecieron en el escenario del Ryman un cinco de noviembre de 1970, aunque aquel programa fue emitido el 6 de enero del 71, en un espacio en el que, además de Derek and the Dominos estuvo invitado Eric Andersen. Con Carl Perkins, el guitarrista que lideraba la banda de acompañamiento de Johnny Cash, el cuarteto encabezado por Eric Clapton hizo esta versión de “Matchbox”, uno de los grandes clásicos del pionero del rock and roll. Esta versión, inédita hasta ahora, forma parte de la edición especial de Layla And Other Assorted Love Songs, que cumple 50 años desde su publicación y que saldrá a la venta el próximo 13 de noviembre como un doble CD o cuádruple LP. Un disco que contó como invitado especial con el inolvidable Duane Allman. En 1970, después de la disolución de Blind Faith, Eric Clapton decidió abandonar a Delaney & Bonnie, y llevarse a tres de sus músicos para formar Derek And The Dominos. Eran el teclista Bobby Whitlock y una base de ritmo con Carl Radle al bajo y Jim Gordon a la batería. Un nombre nombre que tiene que ver con la equivocación de quien les presentó por primera vez en concierto. En realidad, se querían llamar Derek And The Dynamics. En cualquier caso, aquel cuarteto imponente dejó para la historia Layla And Other Assorted Love Songs, un álbum con medio siglo de historia que tiene en "Layla" su tema mágico en el que el dúo de guitarras de Clapton y Duane Allman, de quien el británico decía que era el hermano musical que nunca tuvo, es inolvidable. La canción tiene que ver con la que fuera mujer de George Harrison, Pattie Boyd, con la que se casó en el 79. La letra está inspirada en el libro “Layla y Majnun”, del poeta persa Nizami, que trata sobre un hombre enamorado de una mujer a la que no puede acceder por la negativa de sus padres. Escuchar audio

Thomas draait muziek van o.a. Happy Camper, Elvis Presley, HAIM, Bill Callahan en Eric Andersen.

Brenda talks with Fr. Eric Andersen, Pastor of St. Stephen Church in Portland, about The Assumption of the Blessed Virgin Mary. The post Morning Blend Guest: Fr. Eric Andersen, The Assumption appeared first on Mater Dei Radio.

Esta vez queremos mostrar la faceta más tradicional, la más apegada a las raíces. En muchos casos, es la cara menos conocida de una mujer que ha sido capaz de hacer de su versatilidad una de sus características fundamentales. El pasado miércoles fue el cumpleaños número 74 de Linda Ronstadt. A lo largo de su carrera, ha cantado temas de todos los estilos musicales imaginables, desde country a opera y comedia musical, pasando por folk, rhythm and blues, rock'n'roll, pop o música latina. En todos los casos, su voz ha brillado tanto que se ha convertido en una de las vocalistas femeninas de mayor prestigio. No busques la perfección en una voz que no sea la de Linda Ronstadt. Trístemente, el Parkinson la ha obligado a dejar de hacerlo. Pero hoy estamos dispuestos a rescatar esa voz insuperable seleccionando algunas de sus canciones más cercanas a la tradición. La mayor parte de ellas no son las que suenan habitualmente cuando se recuerda su carrera. Así, hemos abierto el programa con esta versión inédita de marzo de 1973 a “Lighting Bar Blues”, un tema de Hoyt Axton que Commander Cody cantaron de forma extraordinaria. La mayor sorpresa está en el hecho de que Linda Ronstadt tocaba el fiddle junto al también violinista Gib Guilbeau,que hizo también los coros vocales junto a Herb Pedersen. En 1956, Wanda Jackson grabó por primera vez una canción compuesta por Dick Reynolds y Jack Rhodes, que fue un éxito en el 62 por los Springfields, la banda familiar londinense en la que militaba Dusty Springfield. Era “Silver Threads And Golden Needles”, grabada más tarde por artistas de country como Skeeter Davis, Hawkshaw Hawkins, los Everly Brothers, Rose Maddox, Jody Miller o los Pozo-Seco Singers de Don Williams. En 1969, Linda Ronstadt la incluiría de esta forma en su LP de debut en solitario, Hand Snow… Home Grown. Decimos “de esta forma”, porque cuatro años más tarde, en el 73, realizaría una nueva versión, mucho menos enraizada, en su álbum Don't Cry Now. John D. Loudermilk fue bien conocido como compositor en los 50 y 60 dejando canciones para la historia como “Break My Mind”, que George Hamilton IV cantó por primera vez en el 67 y que Linda Ronstadt llevó a su disco de debut, Hand Snow… Home Grown, dos años más tarde. Al margen de un sinfín de artistas que echaron mano en alguna ocasión del tema, los Flying Burrito Brothers, con Gram Parsons al frente, también la cantaron, aunque quedó fue de sus álbumes oficiales. De aquel binomio mítico formado por Lester Flatt y Earl Scruggs resultaba evidente que este último estaba dispuesto a ampliar sus horizontes desde la separación de la pareja en 1969. Tres años después editó I Saw The Light With Some Help From My Friends junto a sus tres hijos, Gary, Randy y Steve, y una pléyade de invitados como la Dirt Band, Tracy Nelson o Linda Ronstadt, con quien realizó una versión sublime del clásico de Merle Haggard “Silver Wings”. Tras la publicación en 1968 del tercer disco de los Stone Poneys, Kenny Edwards dejó el grupo tras una gira y Linda Ronstadt se quedó sola con la obligación de grabar un nuevo Lp para el Capitol. Así, al año siguiente vió la luz Hand Sown… Home Grown, un trabajo de muy escasa repercusión. Pero las cosas parecieron cambiar con su siguiente trabajo. Linda consiguió la nominación para el Grammy con "Long Long Time", incluida en el álbum Silk Purse de 1970. Pero hoy hemos preferido escuchar la versión en directo que realizó en el Troubadour de Los Angeles por aquellas fechas. Su compositor, Gary White, es un tejano al que conocimos como bajista de Circus Maximus, una banda de Austin de la segunda mitad de los 60, en la que militaba Jerry Jeff Walker. Cuando Linda Ronstadt se lanzó a la aventura en solitario, comenzó a reclutar músicos del Troubadour para formar su propia banda de acompañamiento. Instrumentistas como Bernie Leadon, Glenn Frey, Don Henley y Randy Meisner pasaron a ser sus nuevos compañeros, de tal forma que a su alrededor se estaban gestando los Eagles. En Silk Purse había una versión de “He Darked the Sun”, una canción de Gene Clark y Bernie Leadon en el álbum The Fantastic Expedition of Dillard & Clark de dos años antes. Pero Linda realizó una llamada Nashville version, con un sonido más propio de la versión original que hoy hemos querido recuperar. Ha pasado medio siglo desde la publicación de Silk Purse, en 1970, su segundo disco en solitario. Su apertura era esta versión de “Lovesick Blues”, un tema aparecido en los años 20 en un musical al que Hank Williams puso en el mapa sonoro cuando empezó a actuar en el Louisiana Hayride y lo llevó al primer lugar de las listas en el 49. Grabado en los Cinderella Studios de Nashville, fue la única vez en su carrera que la artista de Arizona se acercó a la Music City para grabar sus canciones. En aquella ocasión, Linda contó con músicos de la altura de Bernie Leadon, Weldon Myrick, Buddy Spicher, Troy Seals o Kenny Buttrey. El legendario Troubadour de Los Angeles fue la cuna de un buen número de artistas convertidos en referentes de la música popular con el paso del tiempo. Aquel local de West Hollywood del que James Taylor decía que era “como un cenicero puesto boca abajo”, vio nacer al artista de Boston, además de a Buffalo Springfield, los Byrds, Jackson Browne, Bonnie Raitt, Linda Ronstadt o los Eagles, cuyos primitivos miembros estaban en la banda de acompañamiento de Linda Ronstadt. Con ellos editó su tercer álbum, de título homónimo en 1972, con un claro sonido country‑rock grabado entre California y Alabama con la producción de John Boylan. Como muestra de su versatilidad, Linda se acercó al honky tonk con una versión de “Crazy Arms”, el primer No.1 de Ray Price en 1956. La producción de John Boylan permitió también que otros músicos como Herb Pedersen, Gib Guilbeau, Sneaky Pete, Buddy Emmons, Jimmy Fadden de la Nitty Gritty Dirt Band o John David Souther participaran en el proyecto. Aquel disco fue, en cierta forma, la puerta para conocer también a nuevos compositores como Eric Kaz, Jackson Browne, Livingston Taylor o Eric Andersen, pero también recurrió a mitos de la categoría de Woody Guthrie, Harland Howard, Hank Cochran o Johnny Cash. Del Hombre de Negro, que llevó a la vocalista a su programa de televisión en sus comienzos, eligió “I Still Miss Someone”, una pieza de finales de los 50 que había compuesto con su sobrino, Roy Cash, Jr. y que conocimos cuando grabó en la prisión de Folsom. Una de las vocalistas favoritas de Linda Ronstadt es Patsy Cline, cuya primera grabación en el sello Decca, "I Fall To Pieces", pasaría a ser el mayor de sus éxitos, consiguiendo llegar por primera vez a la cima de las listas de country poco antes de sufrir un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville. La explosiva facilidad de Linda en sus años de Capitol Records para interpretar clásicos como este sorprendió a muchos. En su tercer disco en solitario, con su nombre en el título y editado en 1972, dejó constancia de su respeto por la tradición y de su sensibilidad extrema. Linda Ronstadt comenzó a trabajar con John Boylan en un nuevo disco para el sello Asylum Records, al que se unió John David Souther, con el que mantenía una estrecha relación, antes de encontrar a Peter Asher -antiguo miembro de Peter & Gordon- en el Bitter End de New York. El álbum Don't Cry Now salió al mercado en 1973 tras un año de sesiones, 150.000 dólares invertidos y tres productores. Aquel disco era fantástico, pero nosotros hoy estamos centrados en canciones más tradicionales. Linda había fichado por Asylum, pero debía un álbum a Capitol por contrato. Ese disco que se tituló Heart Like A Wheel y fue publicado en el 74, mezclando antiguas canciones con nuevos temas, incorporando country, rock y rhythm and blues. De todos es recordada su versión al clásico de Hank Williams "I Can't Help It (If I'm Still In Love With You)", donde Emmylou Harris hacía las armonías vocales, la llevó al segundo lugar de las de country y a conseguir un Grammy. Pero esta versión de “Honky Tonk Blues”, también de Hank Williams, que contaba la historia de un joven granjero que deja la granja familiar para irse a la ciudad, fue grabada en octubre de 1974 de nuevo junto a Emmylou y quedó inédita durante 25 años. Es muy posible que Linda Ronstadt y Patsy Cline sean las dos vocalistas más sobresalientes de la historia de la música, con una versatilidad incomparable. Patsy sufrió un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville, se fracturó la cadera y tuvo importantes heridas en la cabeza al salir despedida por el parabrisas. Fue hospitalizada durante varios meses y, apoyada aún en sus muletas, grabó una composición de Willie Nelson llamada "Crazy", que pasaría a ser su canción más vendida. Linda Ronstadt la recordó de esta forma en Hasten Down The Wind, un trabajo de 1976 que llegó tras publicar Prisoner In Disguise Ronstadt un año antes y donde eligió canciones de amigos y compositores cercanos. No olvidemos que la madre de Linda era alemana y, sobre todo que su padre era mejicano. Este último, Gilbert, cantaba con ella y sus otros dos hijos canciones de su tierra natal en los pocos ratos de ocio que les permitía la ferretería que regentaban. Nuestra invitada de hoy nunca olvidó aquellas raíces, no solo en los distintos álbumes dedicados íntegramente a canciones hispanas, sino a lo largo de toda su carrera. Como ejemplo, hemos escogido “Lo siento mi vida”, un tema propio, creado junto a su compañero en los Stone Poneys, Kenny Edwards, y a su padre Gilbert, para el álbum Hasten Down The Wind de 1976. En 1977, Linda Ronstadt publicaba su octavo álbum de estudio, Simple Dreams, convertido en una de las más altas cotas de su carrera y vendiendo más de tres millones de copias. Es el último de los discos en los que nos vamos a detener hoy para celebrar el cumpleaños número 74 de su protagonista. Aquel registro, además, fue el encargado de desplazar del No.1 de las listas de pop al mítico Rumours de Fleetwood Mac… y a Elvis Presley de la cabecera de las de country. Producido por Peter Asher, la fórmula fue sencilla: recoger algunas de las grandes canciones interpretadas por una de las voces más distinguida, arropada por los músicos más relevantes del momento, incluidos los Eagles. Para conmemorar los 40 años desde su lanzamiento, se reeditó el disco original con tres temas de bonificación grabados en directo en un concierto especial realizado por la cadena HBO en 1980. Entre ellas estaba "Blue Bayou", un tema de Roy Orbison que la vocalista de Arizona cantó en directo en inglés y castellano. Escuchar audio

Guests: DD James, Singer/Songwriter Eric Anderson, Singer/Songwriter - erichandersenmusic.com J Woody, Singer/Songwriter - jwoody.hearnow.com Show Notes: Today's episode is all about music from the heart, and I'll have three of my favorite local musicians sharing their heart and soul from Reno, Nevada to Placerville, California. You all know I just love my Reno and Placerville live music venues. Well, now we'll see how they're pivoting so they can still rock our heart and souls! My cohost is DD James, a singer and songwriter who will play one of my favorite songs, “49 Wines.” We'll also be joined by one of Reno's favorites, Eric Andersen. He's a solo artist, songwriter, and MUCH more. Eric will be showcasing his newest original, “Holding Space.” Fun fact: Eric was one of my very first interviews back in the day! We'll also be joined by J Woody, a Placerville-based musician, who is releasing his record of a lifetime, “Put Your Hand In Mine.” It's been almost 50 years in the making. I'm so excited to share it with you on today's show! He'll be hosted by Nello Olivo Winery - Highway 50 Brewery, whose Camino tasting room is one of my favorites!

Allen Larman and Peter Cutler host Folkscene's 50th Anniversary Special (Week 4), guest segments include: 1. Dave Alvin (8-28-94) 2. Lowen & Navarro (8-10-94) 3. Kate and Anna McGarrigle (2-26-97) 4. Jackson Browne (8-15-99) 5. Tom Rush (11-21-99) 6. Nickel Creek (5-21-2000) 7. Loudon Wainwright (1-15-02) 8. Eric Andersen (5-18-88) 9. John McEuen (2-12-99) 10. Dom Flemons (4-15-19). All original recording dates are in parenthesis. Engineered and mastered by Peter Cutler. ©Folkscene

Folk music legend Eric Andersen joined the Outpost for music and a free-flowing conversation, as part of Richard Barone's Music & Revolution concert. We talked with him about his long and fascinating life, including the original Greenwich Village folk scene, the beats in San Francisco, and the best party of the 70s. Includes a powerful performance of Andersen's song 'Dusty Boxcar Wall,' accompanied by Pete Kennedy and Steve Addabbo.

One year ago, the EU General Data Protection Regulation (GDPR) came into effect, fundamentally changing the way businesses handle data. The GDPR forced companies to scramble to comply or face penalties. A year later, what has the GDPR's impact been and how are businesses handling it? Where should companies go from here? Joining the show are F-Secure's Hannes Saarinen, privacy officer, and Eric Andersen, who works with companies on GDPR compliance. We last spoke with them in May of 2018, and they're back to give us a one-year update. Links: Episode 24 transcript DLA Piper data breach survey  

Infographics are an additional way to add value to your digital content. But it’s more than just copying and pasting information from your article or blog post and putting it in a design. Eric Andersen and Mariah Obiedzinski discuss best practices of creating useful infographics for your marketing content. Read the transcript. --- Support this podcast: https://anchor.fm/stamats/support

We're so privileged today to talk to a real master and legend of the guitar, the great Arlen Roth! Roth has toured the world and recorded with countless acts such as Simon and Garfunkel, Bob Dylan, John Prine, Phoebe Snow, Levon Helm, Ry Cooder, John Sebastian, Janis Ian, Eric Andersen, The Bee Gees and many more. He has released 15 albums, including ones such as All Tricked Out!, Slide Guitar Summit and Toolin' around Woodstock with Levon HELM. His most recent album is Telemasters, released late 2018, featuring Roth in duets with other Telecaster masters such as Brad Paisley, Vince Gill, Steve Cropper, Joe Bonnamossa, Brent Mason, Albert Lee, Johnny Hiland, Jack Pearson, to name a few. It is produced by 2-time GRAMMY award-winner Tom Hambridge. Within the sphere of music education, Roth is popularly known as the creator of the famed Hot Licks Video instructional series, which has sold in excess of 2 and a half million copies. His current online lessons and blogs for gibson.com have over a million followers and he has helped create over 1000 online lessons and blogs for Gibson guitars.

On today’s episode, we sit down with Eric Andersen of Blue Mountain Precision! Eric grew up working on his dad’s farm and construction company in Wisconsin, where he would always pull factory guns apart and improve them for hunting. He then visited his family and decided it was time to start Blue Mountain Precision for one reason: to build superior accurate rifles! Since then Blue Mountain Precision has become one of the most popular gunsmiths in the country used by NRL and PRS shooters, and with the help of other companies, started the Loaner Rifle Program for the NRL! Learn more about Eric, how the NRL Loaner Rifle Program came to be, the future of building custom rifles, and more on the PRC Podcast! Index: 0:45 – History of Blue Mountain Precision 3:15 – Is there a rifle that can both hunt and compete in matches successfully? 9:35 – Companies providing additional bolts to customers 12:10 – NRL Loaner Rifle Program 24:50 – What matches are on Eric’s schedule this year? 26:40 – Upcoming projects for Blue Mountain 30:05 – How Eric would set up a new shooter’s rifle 39:30 –The future of building custom rifles 42:25 – Top 3 items you have to have at a match If you enjoyed this podcast, make sure to subscribe to us on Soundcloud or iTunes for more episodes and write us a review! Share this episode with anyone interested in all things Precision Rifle. Follow Us On: Website: http://precisionriflechannel.com Facebook: https://www.facebook.com/precisionriflechannel Instagram: https://www.instagram.com/precisionriflech/ Soundcloud: https://soundcloud.com/precisionriflechannel iTunes: https://itunes.apple.com/us/podcast/precision-rifle-channel-podcast/id1367259793?mt=2 Fore more info on Blue Mountain Precision, visit: http://bluemountainprecision.com/

Sidste år overtog Museet for Samtidskunst to brune mapper med papirer, som viste sig at være en stor samling af værker, kompositioner og dokumenter af og om den danske kunstner Eric Andersen fra perioden 1961-1992. I det første afsnit af Podcast for Samtidskunsts serie om Eric Andersen introduceres til kunstneren, hans praksis og hvad serien ellers kommer til at byde på.

Fluxusfestivalen Festival of Fantastics foregik i og omkring Roskilde i 1985 og Roskildes nystartede lokalradio, Dampradioen, var på pletten. Der rapporteres blandt andet fra usædvanlig taxatur arrangeret af Eric Andersen, hvor deltagerne ikke på forhånd vidste hvad der skulle ske, men efter en halv time bliver sat af og selv må gå tilbage til byen. Udsendelsen er lavet på baggrund af fem kassettebånd fra Museet for Samtidskunsts arkiv med de originale udsendelser fra Roskilde Dampradio.

‘Opus 51’ er et af Eric Andersens mest berømte og skandaleombruste værker. Et kunstværk formet som kompositionsmusik. Eller et stykke musik som opfører sig som konceptuel kunst. Udsendelsen dykker ned i den oprindelige opførelse af værket, som var indsendt til en komponistkonkurrence i 1965 arrangeret af Danmarks Radio. Ved hjælp af en række arkivklip fortælles historien om, hvordan ‘Opus 51’ blev fortolket, opført og ikke mindst modtaget.

Forskningsmedarbejder Rasmus Holmboe fra Museet for Samtidskunst har besøgt Eric Andersen til en samtale om hans lange og mangesidige karriere. Samtalen runder bl.a. kunstnerens forhold til publikum, konstruktionen af en ny stjernekonstellation ‘Marianne’ i det ydre rum samt et mirakel, der skete på Amalienborg Slotsplads i 1982. Sidst i udsendelsen fremmaner Eric et regnvejr.

Are you disheartened by the housing crisis happening in Reno? Do you worry about things like safety, community, and homelessness? Do you often wonder what our world would look like if our basic needs were met, and how you can be a part of making that happen? Explore these themes and more with The Alchemists through visual art, talks, live music, and more -- joined by the one and only Eric H Andersen of The Novelists for another unforgettable and heart-openening collaboration. *** Alchemist Theatre was born out of a desire to create newer and better ways of gathering and worship. As a group of professional and talented artists who are passionate about creating art, we wanted to go deeper, and find different ways to connect to Spirit. We want to inspire people to create art, build community, and become better versions of themselves. As modern day Alchemists, we are here to transform fear into love, and are seeking peers who are ready to do the same. Fear is real, but it's not the Truth. www.alchemistmovement.org // #AlchemistMovement

Council Candidate Eric Andersen A long-time resident, Eric is a research & communications consultant and translator who has worked in the forestry, wood products and transportation industries around BC and internationally. He is a representative of the local umbrella organization Squamish & District Forestry Association, and has loads of ideas of how to make our environment marketable. Eric has been a busy volunteer in a number of community organizations and projects in environmental, cultural, recreational and other areas, and he is committed to fostering an inclusive, integrated vision of the community and local economy.

Eric Andersen is a singer-songwriter and recording artist. Since his 1965 debut album, he's recorded more than 2 dozen records. His songs have been covered by the likes of Johnny Cash, Judy Collins, Linda Ronstadt, The Grateful Dead, Bob Dylan and others. 2018 saw the release of the double CD set The Essential Eric Andersen. Rolling Stone magazine said “Andersen is the most elegant of singers.” The New York Times called him “A singer and songwriter of the first rank." On stage Bob Dylan remarked “Eric Andersen is a great ballad singer and writer.” Tune in and enjoy this in-depth interview with a timeless man of song. It's all here on The Paul Leslie Hour. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour

Chat is becoming an increasingly popular way to provide customer care and IBM envisions that their Watson artificial intelligence engine will play a key role in providing front line support. Eric Andersen, IT Architect at IBM visits to share parts of his presentation from the #Monage event, with background on how Watson has evolved since it's debut on Jeopardy and may well play a role in your next customer care chat session.

Today's program features a singer songwriter known for the satiric and biting nature of his songs, Warren Zevon. Additional tuneage from Nils Lofgren, Tom Petty, Rolling Stones, David Crosby, Blodwyn Pig, Savoy Brown, Jethro Tull, Dave Mason, Loggins & Messina, Bob Welch, Doobie Brothers, Batdorf & Rodney, America, Fred Neil, Tom Rush, Gordon Lightfoot, Eric Andersen, Harry Nilsson, Beth Hart, Van Morrison, Beatles, Dusty Springfield, Dire Straits, Jefferson Airplane, Coldplay, Beck, David Bowie, Bill Evans, Gil Scott-Heron, Donald Byrd, Mark Almond Band and John Mayall.

Vandaag heerlijke muziek van Easybeats, Blondie, Eric Andersen, Bruce Springsteen en Roy Orbison.

Om 23:00 een lekker uurtje My Generation met Thomas Verbogt. Muziek van The Easybeats, Bob Dylan, Brainbox, Townes van Zandt en Eric Andersen.

Neem 8 cd’s en de muzikale kennis van Mart Smeets en je hebt twee uur lang fantastische muziek in OLM op 40UP Radio. Muziek van Marc Cohn, Dusty Springfield, The Who, Earth & Fire, Ray Charles, Eric Andersen, The Byrds, Blood Sweat & Tears en Hawkwind.

Neem 8 cd’s en de muzikale kennis van Mart Smeets en je hebt twee uur lang fantastische muziek in OLM op 40UP Radio. Muziek van Marc Cohn, Dusty Springfield, The Who, Earth & Fire, Ray Charles, Eric Andersen, The Byrds, Blood Sweat & Tears en Hawkwind.

Nanci Griffith Feat. Mac McAnally/Gulf Coast Highway/From A Distance: The Very Best Of Nanci Griffith Christopher Mark Jones/I Saw The Sea/Incantations Susan Shann/Final Word/single Smithfield Fair/ Love Is A Mystery/Smithfield Fair: Evermore Judy Klass /Trump University/ Protest Songs In An Age Of Trump (Unplugged) Bronwynne Brent/Devil Again/Stardust Bill Plaskett, Joel Plaskett/Jim Jones/Solidarity Bob Dylan/Jim Jones/Good As I Been To You The Lords Of Liechtenstein/Witches/Downhill Ride To Joyland TC Smith/Amazing Grace/TASCAM DR-05 Christopher Mark Jones/What That Means/Incantations Jayme Stone/ Candy Gal/Jayme Stone's Folklife Jayme Stone/Hallelujah/Jayme Stone's Folklife Pat Alger, John Sebastian, Artie Traum, Eric Andersen, Happy Traum and Roly Salley /Mason Dixon's On The Line/Woodstock Mountains: Music from Mud Acres Rory Block and Lee Berg/Long Journey/Woodstock Mountains: Music from Mud Acres Micah And Mark Atkinson/Wall Of Water/Land Of Broken Angels Dave Morrison /In The Narrows/Nothing Left To Lose John Craigie/Virgin Guitar/No Rain, No Rose Naming The Twins/One More Winning Hand/Turn Styles Bill Plaskett, Joel Plaskett/The New California/Solidarity Zoe Mulford/Won't You Come On In/Small Brown Birds Old Crow Medicine Show/I Hear Them All/Best Of     See acast.com/privacy for privacy and opt-out information.

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Chapter 77: "Some quiet conversation" ...as read by Eric Andersen of The Novelists For this chapter we are joined by Eric Andersen of The Novelists. Eric was nice enough to sit down having just moved into a new home and wasn't even unpacked yet to keep his commitment to this podcast. The Novelists are a beautiful find from a friend who recommended I listen to their cover of "Africa" by Toto...but once I got started I couldn't stop. I am excited to hopefully introduce this Reno, Nevada gem to those who have never heard of them. We take our time and showcase a lot of music from their new album "Breaking The Script" throughout the entire conversation. Eric discusses his friendship with legendary Genesis guitarist Darryl Stuermer, what he learned from watching Billy Joel master classes and performing in Cowboy Stadium versus playing in a living room. It isn't always heavy stuff here at ATSG headquarters and The Novelists are proof as to how good it can get. Chapter 77 Links: The Novelists Website: http://thenovelists.com/shop/merch/ (buy their stuff here or on iTunes) The Novelists FB: https://www.facebook.com/thenovelists/ All the videos mentioned can be seen on The Novelists YouTube channel: https://www.youtube.com/user/thenovelists Chapter 77 Music (all The Novelists) "Africa" (Toto cover where I first stumbled into the band) "Morris And Estelle" (amazingly uplifting super tragic roller coaster of a song) "Above The Hiding" "I Don't Want To Be Like You" "We" "Soul Sucker" "Easier To Dream" "Bohemian Rhapsody" "You Will Know My Name" As The Story Grows links: [Help out at Patreon][1] [Follow on Twitter][2] [See what we're doing at Lavirra Productions][3] [ATSG Website][4] [ATSG Music and Merch][5] [Leave some feedback at iTunes][6] [ATSG YouTube Channel][7] [Join the Email List][8] [ATSG Facebook][9] Email: asthestorygrows@gmail.com

Randy and Michael talk to Sara Morgan about her new single and bump into legendary singer/songwriter Eric Andersen.

I dette afsnit af lydkunst tager vi dig med tilbage til da det hele startede, til et tidspunkt i kunsthistorien, hvor en gruppe kunstnere skulle ændre forståelsen af hvad kunst kunne være, og bane vejen for, at vi i dag kan tale om lyd som kunst. I november 1962 blev der afholdt Fluxus Festival i Nikolaj Kirke, og fra da af kan man for alvor tale om at lydkunst gør et indtog på den danske kunstscene. Under festivalen blev publikum præsenteret for en ny kunst, der blandede musik, teater og billedkunst i en pærevælling, uden respekt for de eksisterende grænser. Festivalen var den anden i en lang række festivaler rundt omkring i Europa. Festivalerne skabte en massiv debat og furore overalt hvor de blev afholdt, men ikke desto mindre har Fluxus haft en enorm betydning for hvordan vi i dag forstår kunst. På festivalen i Nikolaj Kirke, optrådte en ganske ung Eric Andersen på blot 19 år. Ham kan du møde i dette afsnit, hvor han fortæller om festivalerne, om Fluxus, og om hvordan Fluxus ønskede, at kunst skulle være noget ganske andet end det det var. God fornøjelse! Produceret af Anne Neimann Clement og Line Møller Lauritsen

Adam Spanier, General Manager at KNGN (1360 AM in McCook, Nebraska) interviews Throwdown hosts Eric Andersen and Randy Asburry for KNGN’s 2015 Share-A-Thon. We tell the story of how this “incredibly awesome show” began. We discuss our favorite episodes (if we can choose). And we address big issues in the church today as well as … Continue reading KNGN Share-A-Thon Interview-2015 →

I denne podcast vil vi undersøge hvad lydkunst er: Hvilken plads har den på Akademierne og museerne? Og hvorfor er lydkunst tilsyneladende the big thing lige nu? Kunst er historisk set blevet opfattet som et visuelt fænomen. Det er først for alvor med den historiske avantgarde, i kølvandet på 1. Verdenskrig, at kunstnere begynder at sætte andre sanser end synssansen i spil. I Danmark er det især FLUXUS-bevægelsen og multimediekunstnere som eksempelvis Eric Andersen, der begynder at lave lydbårne kunstværker i de tidlige 60'ere. Siden bliver lyd i kunst mere og mere almindeligt i takt med at for eksempel video- og performanceskunst vinder frem på kunstscenen. Dog er det først engang i 80’erne, at begrebet lydkunst formuleres for første gang. Den dag i dag, opfattes kunst stadig som noget, man primært forholder sig til med blikket. De store kunstinstitutioner er først begyndt at erhverve og udstille lydkunst indenfor de seneste år. Dét kan du bl.a. høre Birgitte Anderberg fortælle om i denne podcast, hvor hun giver et indblik i lydkunstens status på Statens Museum for Kunst, hvor hun er museumsinspektør. Lydkunst er i dag større end nogen siden. Der findes festivaler for lydkunst, udstillinger dedikeret til lydkunst og i den akademiske verden prøver forskere at indhente årtiers forsømmelse med artikler, bøger og lange afhandlinger om lydkunst. På kunstakademierne arbejder flere og flere af de unge studerende med lyd. I denne podcast vil du møde Hannah Anbert og Felia Gram-Hanssen, der begge er studerende på Det Kongelige Danske Kunstakademi og arbejder med lyd. De fortæller blandt andet om det fælles nordiske overbygningsprogram Nordic Sound Art og om hvordan de studerende mødes i interessefællesskaber for at tale om lyd. Velkommen til tredje udgave af Kunsten.nu's podcastserie LYDKUNST - denne gang om lydkunst. Podcasten er produceret af Anne Neimann Clement og Line Møller Lauritsen i samarbejde med KUNSTEN.NU Se mere til Hannah Anbert her: https://hannahanbert.wordpress.com/ Og til Felia Gram-Hanssen her: soundcloud.com/felia-gram-hanssen Og læs anmeldelse af Nordic Sound Art-progammet på plade her: http://seismograf.org/artikel/en-udstilling-paa-plade

JUDY COLLINS has thrilled audiences worldwide with her unique blend of interpretative folksongs and contemporary themes. She has a brand new CD called "Bohemian" and a brand new book "Sweet Judy Blue Eyes: My Life in Music." Her impressive career has spanned more than 40 years. At 13, Judy Collins made her public debut performing Mozart's "Concerto for Two Pianos" but it was the music of such artists as Woody Guthrie and Pete Seeger, as well as the traditional songs of the folk revival, that sparked Judy Collins' love of lyrics. In 1961, Judy Collins released her first album, A Maid of Constant Sorrow, at the age of 22. Her rendition of Joni Mitchell's "Both Sides Now" on her classic 1967 album, Wildflowers. "Both Sides Now" has since been entered into the Grammy's Hall of Fame. Winning "Song of the Year" at the 1975 Grammy's Awards show was Judy's version of "Send in the Clowns." Judy's book, "Sanity and Grace, A Journey of Suicide, Survival and Strength" is a deeply moving memoir, focusing on the death of her only son and the healing process following the tragedy. The book speaks to all who have endured the sorrow of losing a loved one before their time. In a recent appearance on ABC's Good Morning America, Judy performed "Wings of Angels," the heartbreaking ballad that she wrote about the loss of her son. The song is currently available on Judy Collins Wildflower Festival CD and DVD, which also feature guest artists Arlo Guthrie, Tom Rush and Eric Andersen. Judy Collins continues to create music of hope and healing that lights up the world and speaks to the heart and WoodSonmgs is proud for her special event return to our show.

ERIC ANDERSEN'S songs, voice, and guitar have created a career, spanning over 40 years, that includes 25 albums of original songs, and numerous tours of North America, Europe, and Japan. His songs; have been recorded by artists all over the world, including Judy Collins, Fairport Convention, Peter Paul and Mary, Rick Nelson, Linda Ronstadt, The Grateful Dead, and Francoise Hardy. The legendary singer/songwriter joined Shawn Henderson in the WSCA studios for an intimate chat and performance on Friday November 5th, 2010. Songs performed live in studio 1 - Violets of Dawn 2 - Dance of Love & Death 3 - Salt on Your Skin http://staytunedradio.webs.com http://wscafm.org http://ericandersen.com