POPULARITY
5 episodes with Fantasy Records
4 episodes with Fantasy Records
2 episodes with Fantasy Records
2 episodes with Fantasy Records
2 episodes with Fantasy Records
2 episodes with Fantasy Records
2 episodes with Fantasy Records
2 episodes with Fantasy Records
2 episodes with Fantasy Records
Tift Merritt is a Grammy-nominated singer-songwriter and practitioner-in-residence at the Franklin Humanities Institute and Duke University, she has released records via Lost Highway, Fantasy Records, and Yep Roc Records, performed with Joan Baez and Kris Kristofferson, and had a (pre-podcast type) show on Marfa Public Radio about the artistic process and integrity, called The Spark. We talk with Tift about intentionally stepping back from touring and the full-time music industry, seeking the growing edge, surviving without social media, the fallacy of constant flowering, and a whole lot more.Get more access and support this show by subscribing to our Patreon, right here.Links:Tift MerrittThe SparkRosanne CashDorris BettsClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.
Show #1092 20th Century Revisited 01. Eddie Boyd - The Big Question (3:02) (Five Long Years, Fontana Records, 1965) 02. John Mayall & the Bluesbreakers - Someday After A While (Tou'll Be Sorry) (3:01) (A Hard Road, Decca Records, 1967) 03. Eric Clapton - Someday After A While (4:28) (From The Cradle, Reprise Records, 1994) 04. Fleetwood Mac - No PLace To Go (3:24) (Fleetwood Mac, Blue Horizon Records, 1968) 05. Buddy Guy - Stick Around [1963] (3:52) (Blues Rarities, Chess Records, 1984) 06. Dana Gillespie - Tongue In Cheek (4:54) (Blues It Up, Ace Records, 1990) 07. Red Devils - Quarter To Twelve (6:54) (King King, American Recordings, 1992) 08. Little Walter - Mellow Down Easy (2:40) (45 RPM Single B-side, Checker Records, 1954) 09. Tony Joe White - Did Somebody Make A Fool Out Of You (4:46) (Homemade Ice Cream, Warner Bros Records, 1973) 10. Paul Butterfield Blues Band - Blues With A Feeling (4:24) (The Paul Butterfield Blues Band, Elektra Records, 1965) 11. Spencer Davis Group - Blues In F (3:24) (45 RPM Single B-side, Fontana Records, 1966) 12. Blood Sweat & Tears - I Love You More Than You'll Ever Know (5:54) (Child Is Father To The Man, CBS Records, 1968) 13. Johnny Winter - It's My Life Baby (4:12) (Guitar Slinger, Alligator Records, 1984) 14. David Bromberg - Suffer To Sing The Blues [1979] (5:43) (Long Way From Here, Fantasy Records, 1986) 15. Sonny Boy Williamson II - Fattening Frogs For Snakes (2:22) (Down And Out Blues, Checker Records, 1959) 16. Canned Heat - Help Me (3:06) (Canned Heat, Liberty Records, 1967) 17. Electric Flag - Texas (4:45) (A Long Time Comin', CBS Records, 1968) 18. Bonnie Raitt - Everybody's Cryin' Mercy (3:23) (Takin' My Time, Warner Bros Records, 1973) 19. Omar & the Howlers - Everybody Knows About My Good Thing (5:45) (Big Leg Beat, Amazing Records, 1980) 20. ZZ Hill - Everybody Knows About My Good Thing (4:53) (Down Home, Malaco Records, 1981) 21. Chicken Shack - San-Ho-Zay (3:05) (40 Blue Fingers Freshly Packed And Ready To Serve, Blue Horizon Records, 1968) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Send us a textEveryone knows and loves Creedence Clearwater Revival. Their run of hits at the end of the '60's, and their enduring popularity, has rarely been equaled. Not so well-known is the story of the clashes that caused their run to end so abruptly. We take a look at how the band split and the many personal and legal issues that led to it. It ain't pretty! Well, we also kept our promise and listened to the new Coldplay album, “Moon Music”. How did it sound to us? Regular listeners won't be surprised at our reaction! In Rock News, we look some more at the issues surrounding Diddy, and look at the problems with the "stage hole" in Melbourne. Our Album You Must Listen to Before You Die is 1977's “Bat Out of Hell” by Meat Loaf. Such a great album!! References: Houston Bernard, “Dancing in the Dirt”, Puff Daddy, Sean 'Diddy' Combs, Chris Martin, Marvel Stadium, Music of the Spheres, Olivia Rodrigo, Donald Trump sneakers, Meat Loaf, Bat Out of Hell, Todd Rundgren, You took the Words Right Out of My Mouth, Two Out of Three Ain't Bad, Jim Steinman, Rocky Horror Picture Show, car sex, El Cerruto California, Doug Clifford, Stu Cook, The Blue Velvets, Tom Fogerty, Fantasy Records, Casey Kasem, Credence Newball, Olympia beer, CCR, Dale Hawkins' Susie Q, Apocalypse Now, Woodstock, Bad Moon Rising, Proud Mary, "Have You Ever Seen The Rain?", Hammond B3 organ, Booker T. & the M.G.'s, “Fortunate Son”, Trump (the) fortunate son, An American Werewolf in London, Evan Almighty, Keith Richards, Saul Zaentz, Allen Klein, “The Royal Albert Hall Concert”, Concord Records, Rockin' All Over the World, Status Quo, Asylum, Warner Bros, Centerfield, Zanz Kan't Dance, Mr. Greed, “Mardi Gras”, Rolling Stone (Jon Landau), “Classic Album Review”, “The 10 Worst Albums Ever”, Rock & Roll Hall of Fame, Pop, Chronicle, US Top 200, Glenn Barros, The Long Road Home Playlist We play all the music/artists discussed during this episode
This songwriter from Nebraska has toured with Ron Pope and Tallest Man on Earth, in addition to recording for Fantasy Records.
On tonight's show: a retrospective on the career of Vince Guaraldi. Some remastered early works by the Vince Guaraldi Trio: Fenwyck's Farfel, and Django, and Ossobucco (featuring Eddie Duran on guitar), from 1956. Guaraldi playing with the Cal Tjader Quartet in 1957, Live at the Blackhawk: Lover Come Back to Me. Two from his 1957 release, A Flower is a Lovesome Thing: Like a Mighty Rose and Autumn Leaves From The Definitive Vince Guaraldi, a compilation of his work from 1955-66 at Fantasy Records, two of the popular songs from the TV specials: Charlie Brown Theme from 1964 and Skating from 1965. Two from Guaraldi's last recordings, done with the Warner label: Red Baron, from the Oh Good Grief album from 1968, and Alma-Ville, from the album of the same name, released in 1969. A new release of Linus and Lucy by the Vince Guaraldi Quintet, from the 50th Anniversary edition of A Charlie Brown Thanksgiving, 2023. Newly released songs from the soundtrack to You're Not Elected, Charlie Brown, the television special from 1972, with Guaraldi on vocals on Joe Cool, and then African Sleigh Ride.
On the show this time, it's the mesmerizing post-punk shoe-gaze of Brooklyn band DIIV. DIIV is a heavy, thinking-person's rock band formed by Zachary Cole Smith in Brooklyn NY back in 2011. They released 3 albums on Captured Tracks and survived member changes, stints in rehab, almost calling it quits, and a reorganization to a more democratic structure to get to this point. They have released a new full-length album, 'Frog In Boiling Water,' which is available on Fantasy Records. Record 06/11/2024. In Amber Somber The Drums Raining On Your Pillow Blankenship Watch the full Live on KEXP session on YouTube.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.
On the show this time, it's the mesmerizing post-punk shoe-gaze of Brooklyn band DIIV. DIIV is a heavy, thinking-person's rock band formed by Zachary Cole Smith in Brooklyn NY back in 2011. They released 3 albums on Captured Tracks and survived member changes, stints in rehab, almost calling it quits, and a reorganization to a more democratic structure to get to this point. They have released a new full-length album, 'Frog In Boiling Water,' which is available on Fantasy Records. Record 06/11/2024. In Amber Somber The Drums Raining On Your Pillow Blankenship Watch the full Live on KEXP session on YouTube.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.
Original air date: October 3, 2022 This is an UNLOCKED episode. For access to premium episodes, upcoming installments of DEMON FORCES, live call-in specials, and the Grotto of Truth Discord, become a subscriber at patreon.com/subliminaljihad. In the final chapter of CONTRA VII, Dimitri and Khalid explore how Creedence Clearwater Revival went from the #1 chooglin' rock band in the world in 1970 to having their entire fortune stolen by Burt Kanter's notoriously shady, mafia and CIA-infested Castle Bank and Trust. SIDE A: THE ASSASSINATION OF CCR BY THE COWARD BURTON KANTER How CCR's Woodstock headlining set got sabotaged by the Grateful Dead, the silk topper inspiration for “Fortunate Son”, not getting respect from the “cool” rock media, providing material support to the American Indian occupation of Alcatraz, renegotiating their contract with Fantasy Records bigwig Saul Zaentz, Saul convincing CCR to put all their earnings offshore in Castle Bank and a grapevine of shell entities, Tom Fogerty's painful departure in '71, John's revenge on Negative Stu and No-Shuffle Doug with “Mardi Gras” in '72, the end of CCR, Tom's underrated solo career/chooglin' with suslord Jerry Garcia, Tom subtweeting John on “Sign of the Devil”, John's stint with David Geffen and the scrapped lo-fi “Hoodoo” album, realizing that ALL of Creedence's money has vanished into a “Bahamian abyss”, years of seclusion and lawsuits, getting even with Burt Kanter, Zaentz's new role as serrrious Hollywood producer of “One Flew Over The Cuckoo's Nest” and “Amadeus”, John realizing he's Zaentz's Pinocchio puppet, his 1985 return with “Zanz Kant Danz” and “Mr. Greed”, Tom's new “best friend” Saul Zaentz, more lawsuits and fighting, Tom's tragic death from AIDS in 1990, his dying wish that the other three Creedence guys choogle together one last time, and John's NOT-on-haqq refusal to play with Stu, Doug, and Tom's son Jeff at the Rock & Roll Hall of Fame Induction in 1993. SIDE B: EFFIGY Donald Trump's purchase of Resorts International in 1987, cocaine trafficking in 1980s Bahamas, Medellin Cocaine Nazi Carlos “Joe” Lehder making Norman's Cay his castle and garden, US Ambassador to the Bahamas/Slava Ukraini Banderite/WACL suslord Lev Dobriansky telling the CIA station chief to “find another job”, Kanter's relationships with international oil man Bruce Rappaport and Bill Casey, Indonesian oil schemes in the 1960s, the Bank of New York, the ill-fated Aqaba oil pipeline project in Iraq, looting the Soviet economy, Antigua as training ground for Contras, IDF machine guns for Colombian drug cartels, BCCI/Rappaport overlaps, “left-leaning wealth advisor” Josh Kanter's Alliance for a Better Utah and Kanter Family Foundation, Linda Pritzker aka Lama Tsomo's Namchak Foundation in Montana, Nick Pritzker bankrolling Gavin Newsom's career, Tom Pritzker running the Center for Strategic and International Studies, Nick and Tom Pritzker's multiple phone numbers in Epstein's black book, Virginia Roberts Giuffre's allegations against Tom Pritzker, the Kanter law firm of Neal, Gerber, & Eisenberg's continuing services to the Pritzker family, and last but not least, some thoughts on how it doesn't whip ass when left-leaning media influencers try to meme Big Boy JB Pritzker into the White House, especially when one's uncle happens to have been a Burt Kanter protegé/Pritzker family attorney for the last 50 years.
This is an UNLOCKED episode. For access to premium episodes, upcoming installments of DEMON FORCES, live call-in specials, and the Grotto of Truth Discord, become a subscriber at patreon.com/subliminaljihad. In Part 4 of CONTRA VII, Dimitri and Khalid begin exploring the musical origins and Shakespearean career arc of the East San Francisco Bay's most legendary quirked up white boys (and eventual Castle Bank victims) Creedence Clearwater Revival, including: the murky and arguably Islamic roots of blues music in the Mississippi Delta, growing up in the sleepy post-war SF suburb of El Cerrito, Tom and John Fogerty getting blues-pilled by the local black radio stations in Oakland, John getting constantly hit on by Christian Brothers at Catholic school, joining forces with schoolmates Stu Cook and Doug Clifford, becoming Tommy Fogerty and the Blue Velvets, signing with the offbeat dirtbag cawmedy jazz label Fantasy Records in 1963, being forcibly named “The Golliwogs” to ride the Bri'ish Invasion wave, John's unfortunate stint in the US Army Reserves from 1966-68, rebooting as Creedence Clearwater Revival during San Francisco's Summer of Love, John's deep hatred of the MK Silk Topper Grateful Dead scene, his even deeper hatred of LSD, Timothy Leary, and stoner culture, his insistence that they always play sober despite CCR's tactical appeal to the psychedelic crowd on “Suzie Q” and “I Put a Spell on You”, John's assumption of full Stalinist leadership over the band, his growing anxiety that there's “somethin' missing” in Doug's shuffle beat, and the construction of Fogerty's mythical bayou from the violent fever dream swamp of the Vietnam War, the political assassinations of 1968, San Francisco MK culture, and President Richard Nixon.
Hurricane Beryl dealt a blow to our hometown but 36 hours after it passed Hooks & Runs is on schedule against all odds. This week, Craig and Rex riffing on the upcoming Baseball Hall of Fame inductees, Adrián Beltré, Todd Helton, Jim Leyland and Joe Mauer (with an obligatory dig along the way on Journey and Bon Jovi from Craig), speculating about Ichiro's chances for unanimous induction, Billy Wagner's chance for induction at all in 2025, updating plans for the podcast's College Football Preview episode and looking over our best of second quarter album selections. Errata: Craig guessed right - the HOF induction is July 21. Adrián Beltré also played for the Dodgers and Red Sox. Mark Grace slashed .303/.383/.442 for his career; Will Clark slashed .303/.384/.497. On the road, Todd Helton slashed .287/.386/.469. The Marlins won their second World Series title in 2003, not 2001. Jim Leyland's record in Detroit was 700-597 in eight seasons. Saul Zaentz owned Fantasy Records and produced "One Flew Over the Cuckoo's Nest." Rex meant to say "Nurse Ratchet." We bleeped the player Craig called "the baseball equivalent of Journey" because Craig thinks he's actually a better player than that. Craig meant to say "ERA plus" not "OPS."Best of Second QuarterCraig's PicksHonorable Mention - Outlander, "Acts of Harm"Selection - DIIV, "Frog in Boiling Water"Rex's pickKerry King - "From Hell I Rise"Episodes Mentioned:189 - Baseball, Chemical Warfare and The Great War w/ Jim Leeke 167 - College Football Preview: It's All an Arms Race w/ Gabey Lucas 115 - On College Football's Changing Landscape w/ Grant McGalliard (Purple Theory) -->Join our Discord: https://discord.gg/tT8d3pVUsN-->You can support Hooks & Runs by purchasing books, including the books featured in this episode, through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandruns Hooks & Runs - www.hooksandruns.comHooks & Runs on TikTok - https://www.tiktok.com/@hooksandrunsHooks & Runs on Twitter - https://twitter.com/thehooksandrunsRex von Pohl (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Hosts Emeritus:Andrew Eckhoff on Tik TokLink: https://www.tiktok.com/@hofffest Eric on FacebookLink: https://www.facebook.com/ichabodericMusic: "Warrior of Light" by ikolics (Premium Beat) This podcast and this episode are copyright Craig Estlinbaum,
Adam Lazzara is the frontman for Taking Back Sunday, whose single "S'old" from the album 152 spent 20 weeks on the Billboard Alternative Airplay chart in late 2023 and early 2024. Taking Back Sunday broke out of Long Island, New York to put four albums inside the top 10 of the Billboard 200 album chart: Where You Want to Be, Louder Now, New Again and Happiness Is. 152 is the band's 8th studio album and 1st for Fantasy Records. Links Taking Back Sunday homepage Taking Back Sunday tour dates Jay Gilbert @ Label Logic Glenn Peoples @ Billboard Learn more about your ad choices. Visit megaphone.fm/adchoices
All four members of DIIV (Zachary Cole Smith, Andrew Bailey, Colin Caulfield, Ben Newman) joined me to talk about their individual songwriting processes. This interview could've gone on forever because they are so passionate about creativity. What's interesting is that their individual songwriting processes don't have too much in common, but perhaps how those differences play off each other is why they make such good music. DIIV's new album Frog in Boiling Water is out now on Fantasy Records.
"A Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995). Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty Of Credence Clearwater Revival fameLos LobosJoe Satriani an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO: Althea Track #3 4:51 – 6:21 From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece. Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story. Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst: August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast: July 8, 1995 at Soldier Field, Chicago The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end. It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money. Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing. The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business. Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town. By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time. There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group. Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions. There is a You Tube video of the entire Fogerty set that I encourage you to view. Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs. John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty. Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind. On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage. Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance. On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1: Down On The Corner (and Band introductions) John Fogerty (w. Jerry and Bobby) JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com) 10:49 – 12:42 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits. The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs. As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes. Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance. However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend. MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis. I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time. If so, there will be a big report in two weeks. Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album SHOW No. 2: Iko Iko w/Clarence Clemmons Track #5 5:09 – 6:11 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax. Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show. In '89 the Boss was as big as ever and Clarence was a big part of that success. But he enjoyed playing in the improv style embraced by the Dead. Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater. He also played a number of times with JGB. And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back. When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.” SHOW No. 3: Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence Track #6 2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead. Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First: March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast: April 2, 1995 at The Pyramid Arena, Memphis, TN, USA MJ NEWS SHOW No. 4: Blow Away Track #11 7:37 – 9:10 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song) When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst: June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast: July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent OUTRO: Wharf Rat Track #17 3:59 – 5:26 Not the closer this night, or most nights, but it could have been a perfect closer. Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 25, 1995 at RFK Stadium in D.C. .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
Canada's folk music scene in the 1960s produced legends — from Gordon Lightfoot and Ian Tyson to Joni Mitchell, Leonard Cohen and Neil Young — and that remarkable community also nurtured a whole world of talented acolytes.One such folkie follower was British-born David Wiffen. Growing up singing skiffle with the Kingston-upon-Thames-based Black Cat group, Wiffen at age 16 moved from Claygate, Surrey, England, to Canada, where he became something of a rambling man.Initially part of Toronto's burgeoning folk music scene, Wiffen hitchhiked to Edmonton in 1964 and later managed a Calgary folk club called “The Depression.” The following year he moved again, this time to Vancouver, where he was invited to perform at The Bunkhouse club on what was intended to be a live ensemble album. However, when the other invited musicians failed to show up, the gig became 23-year-old Wiffen's first solo album. David Wiffen at the Bunkhouse Coffeehouse, Vancouver BC was released on the Universal International label.By 1970, Wiffen had written what was to become his best known song. “Driving Wheel” was included on his self-titled first album for Fantasy Records. However, David Wiffen, the album, received such spotty promotion that the song was not widely known until it also appeared on Tom Rush's own self-titled 1970 album, his first for Columbia Records. Since then, “Driving Wheel” has become something of a signature song for Rush, still today often making it onto the set list for his shows around the country.Other artists also have covered the song over the years, notably David Bromberg (who 50 years ago played dobro on Rush's classic rendition) as well as Roger McGuinn and The Cowboy Junkies.About Driving WheelsWhile Wiffen's lyric contains a memorable automotive reference (My car broke down in Texas, stopped dead in its tracks…), the “wheel” in “Driving Wheel” actually is locomotive in nature.When the chorus says, I feel like some ol' engine that's lost its driving wheel, the “engine” in question is a stream engine. In that context, we're talking about a powered wheel that is driven by the locomotive's pistons… … or turbine, in the case of a steam turbine locomotive. Uh, class dismissed.Our Take on the TuneIt's funny sometimes how songs come to us. A while back Charlie was just noodling with his new resonator guitar while waiting for a phone call, when suddenly he landed on chords from this song, which he'd not even heard for decades, much less played. A week later he was sharing it with the guys at a rehearsal, and they latched on to the sound too. Just like that, the song comes soaring in from the Seventies. More from This YearBy the way, if you'd like to hear more songs that have popped up at practices this year, be sure to check out the 2024 playlist in our free Radio Floodango music streaming service. Click here to give it a spin. Everything in that randomized rotation has been recorded since January.Note that other buttons in that section of Radio Floodango let you zero in on different specific years of Floodishness, from the present all the way back to 2009. 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
Show #1046 Blues With Horns Vol. 5 01. Deanna Bogart - Collarbone (4:32) (Just A Wish Away, Blind Pig Records, 2014) 02. Mark May Band & The Soul Satyr Horns - Garden Of Truth (6:50) (Blues Heaven, Connor Ray Music, 2016) 03. Eilen Jewell - Hooked (2:26) (Queen Of The Minor Key, Signature Sound Recordings, 2011) 04. Cryin' Out Loud - You Can Dance To The Blues (4:34) (Play Loud & Smoke Often, Pilot Light Records, 2024) 05. Blue Largo - Fine And Mellow (6:50) (What A Day!, self-release, 2000) 06. Dan Dubien - Dizzy Eyes (4:23) (Empty Roads, self-release, 2013) 07. Kern Pratt - Something's Gone Wrong (6:38) (Greenville MS...What About You?, Endless Blues Records, 2019) 08. Kalo - Pay To Play (3:51) (Wild Change, Something Blue Records, 2017) 09. Wily Bo Walker - Moon Over Indigo (6:03) (Almost Transparent Blues, Mescal Canyon Records, 2018) 10. David Bromberg Band - Dyin' Crapshooter's Blues (3:38) (How Late'll Ya Play 'Til?, Fantasy Records, 1976) 11. Billy & the Beaters - Strange Things Happen (3:40) (Billy & the Beaters, Alfa Records, 1981) 12. Dr. John - I Thought I Heard New Orleans Say (4:25) (Tango Palace, Horizon Records, 1979) 13. Altered Five Blues Band - Don't Tell Me I Can't (3:44) (Testifyin', Blind Pig Record, 2024) 14. Robin Banks - My Baby Loves Me (4:51) (Modern Classic, self-release, 2014) 15. Bywater Call - Over And Over (3:49) (Bywater Call, Gypsy Soul Records, 2019) 16. Maureen & The Mercury 5 - Gimme Mo (2:56) (Gimme Mo!, Catty Town Records, 2017) 19. Josh White - I Had To Stoop To Conquer You [1956] (2:49) (In Memoriam, MArble Arch Records, 1970) 18. Doug Sahm - I'll Take Care Of You (4:15) (Hell Of A Spell, Takoma Records, 1980) 19. Joe Williams & Count Basie - It's A Low Down Dirty Shame (5:19) (Everyday I Have The Blues, Roulette Records, 1959) 20. Lucky Peterson - Funky Ray (5:29) (Lucky Strikes, Alligator Records, 1989) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Devon Gilfillian has released records on both Capital and Fantasy Records, played on Colbert and Kimmel, and opened for The Brothers Osborne, My Morning Jacket, Mavis Staples, Gladys Knight and more. We chat with him about how routine can create freedom in your life, the importance of physical wellbeing both on the road and at home, building a machine that can provide for your people, using your platform and voice as an artist, and all points in between.Get more access and support this show by subscribing to our Patreon, right here.Links:WeGo City BusEp 26 - Katie Pruitt"The Artist's Way"Sam Harris Waking UpLevon & The Hawks (pre-The Band)Jason IsbellT-Bone BurnettEp 3 - The Milk Carton KidsBonoNina SimoneClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.
In episode 188 of the podcast, we're joined by Shaun Cooper, bassist of Taking Back Sunday. We talk the band's changing creative process over the years, how they continue to stay relevant 20+ years in, their viral backyard show from the ‘S'old' video, and their wonderful new album ‘152', out October 27, 2023 on Fantasy Records. This conversation was 22 years in the making for us, and Shaun delivered on all fronts. Taking Back Sunday forever! Check out Shaun and Taking Back Sunday here: Web: www.takingbacksunday.com IG/X: @shaunwcooper IG: @takingbacksunday X: @TBSOfficial Check out Fantasy Records here: Web: www.fantasyrecordings.com IG/X: @fantasyrecords We'd love for everyone to hear this episode! Support the Podioslave family by rating, subscribing, sharing, storying, tweeting, etc — you get the vibe. Peace, love, and Podioslave. Check us out here: Web: www.podioslave.com IG/X/TikTok: @Podioslave Youtube: Podioslave Podcast Email: Podioslavepodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/podioslave-podcast1/support
On this week's Jazz After Dinner Joe features vocalist Tony Bennett from his 1975 Fantasy Records recording titled “The Tony Bennett/Bill Evans Album.” Also a few tunes from the 1990 Delta Records Recording “Tony Bennett and the Count Basie Orchestra.”
Grace Potter's '70s influences come through on her new album, Mother Road (out August 18 through Fantasy Records). The Vermont native built her name as the leader of Grace Potter and the Nocturnals, sang on a hit song ("You and Tequilla" in 2010) with country star Kenny Chesney and had a song ("Something That I Want") on the 2010 Disney movie Tangled. Now with countless tour dates and five solo albums under her belt, Grace joins Behind the Setlist to talk about the meaning behind Mother Road, the new material, how she chooses songs to play in her sets, her '70s and '90s musical influences, her music festival and advice a record executive gave to a young Grace Potter. In this episode: 4:50 The meaning behind Mother Road 5:30 What Grace did during the lockdown 9:00 Playing Red Rocks Amphitheatre 10:30 How the setlist changes night to night 13:00 Considering photographers when choosing the first three songs 15:00 Her parents record collection and making mix tapes 19:00 Covering Lee Hazlewood's “Some Velvet Morning” with Lukas Nelson 22:50 Playing “Something That I Want” at Red Rocks 25:30 Playing the (at the time) unreleased “Rose Colored Rearview” 29:40 Singing “You and Tequilla” with Kenny Chesney 31:00 The status of the Grand Point North Festival? 34:00 A young Grace Potter getting advice from a record executive 40:00 Picking the songs to close a set Links: Grace Potter home page Grace Potter tour dates Jay Gilbert @ Label Logic Glenn Peoples @ Billboard Learn more about your ad choices. Visit megaphone.fm/adchoices
Today's guest signed her first publishing deal at the astonishing age of 19 and has since become one of the most successful and sought-after songwriters in the music industry. She has hits with Kacey Musgraves, Maren Morris, Sheryl Crow, Miranda Lambert, Lady Gaga, Yola, Dierks Bentley, Rag'n'Bone Man, Lady A, Kelly Clarkson, Little Big Town, and Labrinth, to name a few. She has successfully released her solo work and joined forces with Brandi Carlile, Maren Morris, and Amanda Shires as The Highwomen, releasing their critically acclaimed self-titled album in 2019. After scoring the record deal she released her exceptional sophomore album Pins and Needles via Fantasy Records. With all of this hard work and talent, it is no surprise that our guest has also been recognized by the ACM, CMA, CMT, and NSAI Awards for her prodigious and versatile contributions to songwriting. She received a Grammy award for Best Song Written for Visual Media for Lady Gaga's, “I'll Never Love Again,” from A Star Is Born, and later a Grammy for Country Song of the Year for "Crowded Table" by The Highwomen. Her work inspires artists of every genre and generation. And The Writer Is…Natalie Hemby! Hosted on Acast. See acast.com/privacy for more information.
I'm lucky to have a special relationship with Allison Russell; although her career is skyrocketing right now, she remembers where she comes from and as an early supporter of her solo work, she's been so kind to always make time for me. I originally did this interview for The Sunday Show (my new show on Indie88 from 10am-1pm highlighting singer-songwriters, roots, blues, soul, and Americana musicians. We covered so much ground, touching on everything from her new single, her amazing experience at the Gorge a few weekends back with Joni Mitchell and friends, pride and black music month, that I felt compelled to share this interview here as well. The four-time GRAMMY-nominated singer, songwriter, poet, activist, and multi-instrumentalist has announced her new album, The Returner. The record will be released on September 8th, 2023 via Fantasy Records. She's already shared the title-track from the album. The Returner was written and co-produced by Allison along with dim star (her partner JT Nero and Drew Lindsay) and was recorded over Solstice week in December 2022 at Henson Recording Studios in Los Angeles, CA. It features Russell's “Rainbow Coalition” band of all-female musicians along with special guest appearances from the legendary Wendy & Lisa, Brandi Carlile, Brandy Clark, and Hozier. WATCH / SHARE “THE RETURNER” HERE BUY / STREAM “THE RETURNER” HERE Since the release of Outside Child, her debut solo LP two years ago, Russell's often devastating, deeply moving, cathartic celebration of survivor's joy has become one of the most acclaimed albums of the past 10 years. Now comes the second chapter in herstory, The Returner, a body-shaking, mind-expanding, soulful expression of liberation, love, and self-respect that serves as a fierce declaration of joy for all survivors that have made it to the other side. Allison, JT, and Drew built The Returner from the bottom up with a rhythm-first, genre-fluid approach. The improvisational energy of great female artists sparked the album's fierce joy, and provided a wider canvas for Allison's immense, unlimited talent. In all, the new album doesn't just deliver on the promise of the last two years, it exceeds all reasonable (and unreasonable) expectations and affirms Allison Russell's place among music's most vital artists⎯and The Returner, as one of 2023's most essential recordings. Find out more about Allison Russell: https://allisonrussellmusic.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Guitarist and singer-songwriter Julia Bailen is one third of the NYC power pop trio BAILEN with her elder twin brothers, David and Daniel. On the heels of releasing the second full length BAILEN album, Tired Hearts, Julia sits down with Carmel Holt to discuss her journey to discovering the empowering stability that her instrument and"owning it" brings her, the democratic process of making records with her brothers, and working through some of the negative effects and thought patterns caused by our ageist and sexist music industry. Julia started playing guitar when she was just 7 years old, taught by her father. While the elder twin siblings began playing in bands, Julia was exploring musical theater, and started writing songs. Soon enough, Daniel and David decided to start their own project, The Bailen Brothers, but a desire to create bigger harmonies created the opportunity for Julia to join, and BAILEN was born, which features not just gorgeous harmonies, but dynamic, tight arrangements and a collaborative chemistry only siblings could have. Julia on lead guitar and vocals, David on drums and vocals, and Daniel on bass, synth, and vocals. This year marks a decade since their first live show together, the first of hundreds of shows before they landed their record deal with Fantasy Records, and released the trio's first album Thrilled to Be Here, in the spring of 2019. Now BAILEN is back with their fantastic follow up, Tired Hearts, and Julia Bailen joins us as this week's SHERO in the Spotlight.
Réecoutez le Manhattan Show by Manhattan Funk Magical Funk 6 du dimanche 7 mai 2023 Nouveau Magical Funk N°6 une sélection musicale Christophe Auger mixée et éditée par Manhattan Funk la musique a le pouvoir de transcender le temps et les générations. Chaque chanson a une histoire unique et son propre son. Bobby Glover's "Your Spell" est une piste funk irrésistible de 1984, produite par Roger Troutman, célèbre pour son utilisation de la talkbox. Les Hudsons' "Show Me You Care" de 1982 est un autre classique du funk, avec des arrangements élaborés et des voix soulful. Pree's "One Look" de 2012 apporte une touche plus contemporaine à cette sélection musicale, tout en gardant les influences de la musique soul et funk. "Girls World" de Chartz, sortie en 1983 sur Digital Records, est un exemple de la fusion du funk et de la new wave, avec une ligne de basse funky et des synthés énergiques. Klique a sorti un almbum en 1982, "I Can't Shake This Feeling" sur MCA Records, ce morceau a fait sensation dans les clubs et les radios. Kevin Toney's "Red Tape" de 1982, produit sur Fantasy Records, est une piste jazz-funk avec un piano virtuose et une section rythmique puissante. "The Barkays" de 1982, produit par Allen A. Jones, est une chanson R&B/funk avec des arrangements de cordes et de cuivres. D-Train's "Walk on By", mixé par Francois Kevorkian sur le fabuleux label Prelude, est un exemple de la fusion du R&B et de la musique électronique, avec des synthés qui rappellent la musique disco. Charles Earland's "Tell Me What It Is" est un titre de jazz-funk de 1983, extrait de l'album "Street Themes" de Colombia Chequers' "If You Want My Love" est un autre titre de funk de 1983, sortie sur Matthias Records. Lakeside's "Keep on Moving Straight Ahead" de 1981 est une chanson funky avec des harmonies vocales élaborées et un solo de guitare électrique qui rappelle l'esprit et le style du label Solar. Paradise's "Stop and Think" de 1982 sur Ebony Records est un titre de R&B avec des arrangements particulièrement soignés. "Intrigue's" "Together Forever" de 1987 est une chanson R&B lente, avec des harmonies vocales douces et des arrangements subtils, produit Leroy Burgess & S. Davenport et mixé par Mr Timmy Regisford sur le label Cool Tempo Carl Anderson's "Magic" de 1984 sur Epic Records est une chanson de R&B sophistiquée, avec des arrangements de cordes et de cuivres élaborés. Jeffery L. Elliott's "Pumped Out" de 1985 sur Jam Jam Records est un morceau de funk énergique avec des guitares funky et des arrangements de cuivres entraînants. "Gotta Make It Better" de Jewel en 1982 sur Erect Records est l'un de mes préférés au niveau de la sélection à découvrir absolument. En résumé, cette sélection musicale est une véritable œuvre d'art. Chaque morceau est un témoignage de l'influence et de l'importance de la musique soul, disco et funk dans la culture musicale des années 80's.
Show #990 More Vinyl An eclectic mix of new & old music, with the old from vinyl, including a trio dedicated to David Lindley who passed away on March 3. 01. GA-20 - My Soul (3:12) (Live In Loveland, Colemine/Karma Chief Records, 2023) 02. Juke Jumpers - You Don't Love Me (6:41) (Border Radio, Amazing Records, 1980) 03. Dave Crimmen - Come On (3:04) (Single, self-release, 2023) 04. The Allstars - My Love Will Never Die (5:11) (Tip Your Waitress, Adelphi Records, 1978) 05. Brandon Reeves - Skooch (4:07) (Putting Together Pieces, self-release, 2023) 06. The Twangtown Paramours - I Wanna Be Free (3:17) (Single, Inside Edge Records, 2023) 07. David Bromberg - Suffer To Sing The Blues (5:43) (Long Way From Here, Fantasy Records, 1986) 08. Derroll Adams - Deep Ellum Blues (2:19) (Feelin' Fine, Village Thing Records, 1972) 09. Mick Pini & Audio 54 - Shadows (4:14) (Way Ahead, House Of Happiness Records, 2023) 10. David Lindley - Mercury Blues (3:40) (El Rayo-X, Asylum Records, 1981) 11. Ry Cooder - The Very Thing That Makes You Rich (5:36) (Bop Till You Drop, Warner Bros Records, 1979) 12. David Lindley - Spodie (5:00) (Win This Record, Asylum Records, 1982) 13. 11 Guys Quartet - Speakeasy Serenade (4:00) (Small Blues And Grooves, VizzTone Records, 2020) 14. Monaco Blues Band - Rollin' Man (3:32) (Monaco Blues Band, CBS Records, 1984) 15. Cat Wells - Blues Muse (3:44) (Single, self-release, 2023) 16. Johnny Winter - Self-Destructive Blues (3:31) (John Dawson Winter III, CBS Records, 1974) 17. Jimmie Davis - Red Nightgown Blues [1932] (3:01) (Rockin' Blues, RCA/Bear Family Records, 1983) 18. Peter Storm & the Blues Society - I Told You (Not To Treat Me Wrong) (5:40) (Second, Naked Productions, 2023) 19. John Mayall - Devil's Tricks (7:46) (Back To The Roots, Polydor Records, 1971) 20. The Tearaways - Are You Fuckin' Kidding Me (4:08) (And For Our Next Trick, Dirty Water Records, 2023) 21. Steppenwolf - Ride With Me (3:59) (For Ladies Only, Dunhill Records, 1971) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
We explore a little-known jazz story: Vince Guaraldi composed and performed a mass! We talk with Derrick Bang, his biographer, about the creation of this music. It was presented at Grace Cathedral, San Francisco, in May 1965. It's an extraordinary story and we're glad to tell it.Want to hear the mass? The highlights were recorded by Fantasy Records, and you can obtain that recording by clicking here. (The MP3 files are more readily available than the CD or LP.)To learn more about Derrick's connection to Vince Guaraldi, visit his page at http://fivecentsplease.org/dpb/guaraldi.htmlWant to learn more about our 50th anniversary celebration at Grace Cathedral in 2015? Derrick has a lengthy series of accounts listed below: http://impressionsofvince.blogspot.com/2015/06/mass-appeal-chapter-2.html. http://impressionsofvince.blogspot.com/2015/07/mass-appeal-chapter-3.htmlhttp://impressionsofvince.blogspot.com/2015/08/mass-appeal-chapter-4.htmlhttp://impressionsofvince.blogspot.com/2015/08/an-afternoon-of-grace.htmlhttp://impressionsofvince.blogspot.com/2015/08/mass-appeal-chapter-5.html http://impressionsofvince.blogspot.com/2015/09/east-coast-grace.htmlAnd we suggest subscribing to blog of All Things Guaraldi at http://impressionsofvince.blogspot.com/You can get your own copy of Vince Guaraldi at the Piano by clicking here on Amazon or clicking here for the publisher's page. We have additional material of our conversation with Derrick which we will release as a bonus podcast in the future. Featured music:“Blues in F,” performed by Bill Carter with the Jim Martinez Trio at the 50th anniversary of the Guaraldi Mass, Grace Cathedral, San Francisco, accompanied by the Jim Martinez trio. Music is unreleased. © Presbybop Music.Theme music: "All Thumbs" from Faith in a New Key, Bill Carter and the Presbybop Quartet Music used by permission from Presbybop Music (BMI) Announcer: Chris Norton (c) Presbybop MusicSupport the Show.
If you're an independent musician or just someone who's been wondering how to break into the music biz, buckle up because this episode is for you. It's like a roadmap to the industry! We had the pleasure of speaking with Gulce Turek, a Marketing Manager at Fantasy Records, a well-established independent record label. And let me tell you, she's been around the block a few times. She shared her journey of discovering her passion for music through live music and ethno-musicology back in Turkey where she's from, and how she went on to become a label coordinator and marketing manager for Fantasy Records in Los Angeles. Gulce highlighted the importance of passion and dedication in the music industry, because let's face it, it's not for the faint of heart or the lazy. And she emphasized that having a clear understanding of the industry and a willingness to learn and adapt are also crucial for success. Think of it like trying to navigate a city without a map, but with way more traffic and construction. One of the best things about Gulce is that she's not just passionate about her job, but also about the artists she works with. She truly believes in the talent of the artists she represents, just like Rachel Bobbitt (that we'll hear at the end of the episode), or like Bailen, to name a few. We also delved into the ever-changing music scene and the role of digital marketing in today's world. Gulce shared her journey from intern to industry veteran and offered valuable insights and practical advice for those looking to break into the music industry and trust me, Gulce has a wealth of experience and knowledge to share! If navigating the industry feels like trying to find a needle in a haystack for you, well join us as we explore the world of music and the business behind it! https://fantasyrecordings.com/ More about Gulce: https://www.instagram.com/gulceturek/?hl=en https://www.lifoti.com/2022/12/the-success-story-of-gulce-turek-senior.html https://medium.com/@MiliWIM/interview-with-gulce-turek-label-coordinator-at-fantasy-records-concord-music-63c15f043d43 - Vincent Walter Jacob --- Send in a voice message: https://podcasters.spotify.com/pod/show/hangingonsunset/message Support this podcast: https://podcasters.spotify.com/pod/show/hangingonsunset/support
The Weather Girls are an American female duo whose best-known line-up comprised Martha Wash and Izora Armstead. Formed in 1976 in San Francisco, California, The Weather Girls members began their musical career as Two Tons O' Fun, the female backup duo for disco singer Sylvester. After years of limited success singing background for Sylvester, the duo was signed in 1979 to Fantasy Records. The Weather Girls were launched into mainstream recognition following the release of their best-selling single, "It's Raining Men" (1982), which became their first number-one dance song. Despite critical and commercial success, the duo struggled to repeat the success of "It's Raining Men" and ultimately disbanded after the release of their self-titled fifth album The Weather Girls in 1988. In 1991, Armstead reformed the duo with her daughter Dynelle Rhodes. Over the course of a decade, the duo released three albums: Double Tons of Fun (1993), Think Big!, and Puttin' On The Hits (1999). In 2004, Armstead died and was replaced with Ingrid Arthur in 2005. Following the release of two albums Totally Wild! (2005) and The Woman I Am (2009), Arthur left the group and was replaced with Dorrey Lin Lyles in 2012. The group received a Grammy Award nomination for Best R&B Performance By A Duo Or Group With Vocal in 1983.[4] Learn more about your ad choices. Visit megaphone.fm/adchoices
Chapter 354 - "We're Really Really Lucky" ...as read by Tucker Rule of ThursdayThis week we welcome Thursday drummer Tucker Rule to the podcast! Tucker has a new band called LS Dunes, who released their debut LP, Past Lives, on November 11th via Fantasy Records. Tucker talks about the connection between skateboarding and getting into music, Thursday's early days, how he spent the pandemic, and the origins and excitement for his new project, LS Dunes. https://lsdunes.com/https://www.thursday.net/https://asthestorygrows.substack.com/ATSG on Discord https://discord.gg/V2d2juAZChapter 354 Music:LS Dunes - "2022"Thursday - "Understanding In A Car Crash"Thursday - "Signals Over The Air"LS Dunes - "Antibodies"LS Dunes - "Past Lives"LS Dunes - "Permanent Rebellion"---As The Story Grows links:Help out at PatreonATSG WebsiteATSG Music and MerchJoin the Email ListATSG FacebookEmail: asthestorygrows@gmail.comYouTube - https://www.youtube.com/channel/UCNuP0_JUpT6DoIhhbGlwEYA?view_as=subscriber
For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad. In the final chapter of CONTRA VII, Dimitri and Khalid explore how Creedence Clearwater Revival went from the #1 chooglin' rock band in the world in 1970 to having their entire fortune stolen by Burt Kanter's notoriously shady, mafia and CIA-infested Castle Bank and Trust. SIDE A: THE ASSASSINATION OF CCR BY THE COWARD BURTON KANTER How CCR's Woodstock headlining set got sabotaged by the Grateful Dead, the silk topper inspiration for “Fortunate Son”, not getting respect from the “cool” rock media, providing material support to the American Indian occupation of Alcatraz, renegotiating their contract with Fantasy Records bigwig Saul Zaentz, Saul convincing CCR to put all their earnings offshore in Castle Bank and a grapevine of shell entities, Tom Fogerty's painful departure in '71, John's revenge on Negative Stu and No-Shuffle Doug with “Mardi Gras” in '72, the end of CCR, Tom's underrated solo career/chooglin' with suslord Jerry Garcia, Tom subtweeting John on “Sign of the Devil”, John's stint with David Geffen and the scrapped lo-fi “Hoodoo” album, realizing that ALL of Creedence's money has vanished into a “Bahamian abyss”, years of seclusion and lawsuits, getting even with Burt Kanter, Zaentz's new role as serrrious Hollywood producer of “One Flew Over The Cuckoo's Nest” and “Amadeus”, John realizing he's Zaentz's Pinocchio puppet, his 1985 return with “Zanz Kant Danz” and “Mr. Greed”, Tom's new “best friend” Saul Zaentz, more lawsuits and fighting, Tom's tragic death from AIDS in 1990, his dying wish that the other three Creedence guys choogle together one last time, and John's NOT-on-haqq refusal to play with Stu, Doug, and Tom's son Jeff at the Rock & Roll Hall of Fame Induction in 1993. SIDE B: EFFIGY Donald Trump's purchase of Resorts International in 1987, cocaine trafficking in 1980s Bahamas, Medellin Cocaine Nazi Carlos “Joe” Lehder making Norman's Cay his castle and garden, US Ambassador to the Bahamas/Slava Ukraini Banderite/WACL suslord Lev Dobriansky telling the CIA station chief to “find another job”, Kanter's relationships with international oil man Bruce Rappaport and Bill Casey, Indonesian oil schemes in the 1960s, the Bank of New York, the ill-fated Aqaba oil pipeline project in Iraq, looting the Soviet economy, Antigua as training ground for Contras, IDF machine guns for Colombian drug cartels, BCCI/Rappaport overlaps, “left-leaning wealth advisor” Josh Kanter's Alliance for a Better Utah and Kanter Family Foundation, Linda Pritzker aka Lama Tsomo's Namchak Foundation in Montana, Nick Pritzker bankrolling Gavin Newsom's career, Tom Pritzker running the Center for Strategic and International Studies, Nick and Tom Pritzker's multiple phone numbers in Epstein's black book, Virginia Roberts Giuffre's allegations against Tom Pritzker, the Kanter law firm of Neal, Gerber, & Eisenberg's continuing services to the Pritzker family, and last but not least, some thoughts on how it doesn't whip ass when left-leaning media influencers try to meme Big Boy JB Pritzker into the White House, especially when one's uncle happens to have been a Burt Kanter protegé/Pritzker family attorney for the last 50 years.
For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad. In Part 4 of CONTRA VII, Dimitri and Khalid begin exploring the musical origins and Shakespearean career arc of the East San Francisco Bay's most legendary quirked up white boys (and eventual Castle Bank victims) Creedence Clearwater Revival, including: the murky and arguably Islamic roots of blues music in the Mississippi Delta, growing up in the sleepy post-war SF suburb of El Cerrito, Tom and John Fogerty getting blues-pilled by the local black radio stations in Oakland, John getting constantly hit on by Christian Brothers at Catholic school, joining forces with schoolmates Stu Cook and Doug Clifford, becoming Tommy Fogerty and the Blue Velvets, signing with the offbeat dirtbag cawmedy jazz label Fantasy Records in 1963, being forcibly named “The Golliwogs” to ride the Bri'ish Invasion wave, John's unfortunate stint in the US Army Reserves from 1966-68, rebooting as Creedence Clearwater Revival during San Francisco's Summer of Love, John's deep hatred of the MK Silk Topper Grateful Dead scene, his even deeper hatred of LSD, Timothy Leary, and stoner culture, his insistence that they always play sober despite CCR's tactical appeal to the psychedelic crowd on “Suzie Q” and “I Put a Spell on You”, John's assumption of full Stalinist leadership over the band, his growing anxiety that there's “somethin' missing” in Doug's shuffle beat, and the construction of Fogerty's mythical bayou from the violent fever dream swamp of the Vietnam War, the political assassinations of 1968, San Francisco MK culture, and President Richard Nixon.
Hola, hola, yo soy Antonio Giménez y esto es… NADA MÁS QUE MÚSICA. Muy buenas tardes Señoras y Señores, sean ustedes bienvenidos a este rincon de internet en el pretendemos, sobre todo, que ustedes lo pasen bien. Hoy lo haremos con la segunda parte de nuestro repaso a una de las mejores bandas de EEUU, Creedence Clearwater Revival. Así que… empezamos. Bueno, pues habíamos dejado a nuestros amigos de la Creedence en mitad de la bronca, una bronca que les llevaría a su disolución. Repasamos el último día algunos de los motivos que les llevaron a este punto pero, la puntilla la dio John Fogerty tomando algunas decisiones, en su calidad de mánager empresarial de la banda, que dejó a todos sus miembros sin los royalties correspondientes a todas sus grabaciones y por las que tuvieron que entablar un montón de pleitos para poder recuperar sus ingresos. Y es que John había decidido, junto con sus abogados, traspasar el capital del grupo a un banco de Nassau. Años más tarde, en 1983, los juicios iniciados por los miembros del grupo fueron vistos para sentencia y una corte de California sentenció la devolución de 8,6 millones de dólares a sus legítimos dueños. A pesar de la sentencia, solo una ínfima parte de este dinero llegó a sus bolsillos. En este ambiente se publicó “Pendulum”, un nuevo trabajo de estudio que fue bien recibido por critica y público y premiado con unas buenas ventas. De este trabajo es “Have you ever seen the rain” A pesar del éxito del grupo, los problemas personales entre los hermanos Fogerty no hacían más que crecer. Tras la grabación de Pendulum, Tom, que ya había dejado el grupo en numerosas ocasiones aunque siempre había vuelto, lo hizo nuevamente pero esta vez de forma definitiva. Su marcha se hizo pública en febrero de 1971 y aunque en un principio se pensó en reemplazarlo, finalmente no lo hicieron. Tom Fogerty grabó en solitario “Good Bye President” que, más o menos, se escucho pero en ningún caso como a su anterior grupo. Este mismo año, 1971, John Fogerty comunicó al resto del grupo que la banda continuaría adelante adoptando una solución democrática, según la cual cada miembro del grupo escribiría y cantaría su propio material. El contribuiría con la guitarra rítmica en las canciones de sus compañeros, lo que daría lugar a un cambio considerable en el sonido de la Creedence. Este nuevo estilo de trabajo dio como resultado el sencillo Sweet Hitch-Hiker. El grupo se embarcó en una gira por Europa y Estados Unidos durante el verano y el otoño de este año 1971 pero, a pesar del considerable éxito de la banda, la relación personal entre los tres miembros de la banda no hacía más que deteriorarse. Sweet Hitch-Hiker El último álbum que grabaron fue Mardi Gras, se publicó en abril de 1972 y, por primera y última vez, se incluyeron en el trabajo canciones de Fogerty, Cook y Clifford. A diferencia de sus anteriores trabajos, Mardi Gras recibió críticas muy desfavorables y las ventas fueron en proporción, o sea, muy pobres. Tras la publicación de este álbum y su pésima acogida, no solo empeoraron sus relaciones personales sino que su compañía discográfica empezó a verles como un mal negocio y se negó a mejorar sus condiciones contractuales. A este respecto, Cook comentó posteriormente que, gracias a la torpeza de John en los negocios, Creedence tenía el peor contrato discográfico de todos los músicos estadounidenses de éxito. Nuevamente, y a pesar de todo, la Creedence se lanzó a la carretera en una nueva gira por Estados Unidos. Seis meses después, el 16 de octubre de 1972, el grupo anunció oficialmente su disolución y desbanda de Creedence Clearwater Revival. En Mardi Gras estaba incluida Hello Mary Lou, una versión del viejo éxito de Ricky Nelson de 1960. “Fortunate son” es, incluso hoy día, una de las canciones más representativas del movimiento antibélico que se desató a finales de los 60 en los EEUU por su intervención en la guerra de Vietnam. La canción, escrita por John Fogerty, está inspirada en la relación entre David Eisenhower, nieto del presidente Dwight Eisenhower y Julie Nixon, hija del presidente Richard Nixon. Sobre la canción, John Fogerty comentó: “Julie Nixon estaba saliendo con David Eisenhower y daba la sensación de que esta gente no estaba comprometida con la guerra. En 1969, la mayoría del país pensaba que las tropas tenían la moral muy alta, y que algo así como el ochenta por ciento de ellas estaba a favor de la guerra. Pero para los que mirábamos más de cerca, sabíamos que estábamos metiéndonos en problemas.” La canción fue muy popular durante la Guerra de Vietnam y fue incluida en varias películas. Cuenta los pensamientos de un hombre que está siendo reclutado para la guerra de Vietnam y que no es hijo de un senador millonario o de un militar y, por tanto, no es un “hijo afortunado”, un Fortunate son. Otro tema de Fogerty, este incluido en el Cosmo’s Factory, también fue, en su momento, objeto de polémica. El título y la letra de la canción, así como el año en el que fue lanzada, 1970, llevó a muchos a pensar que la canción trata sobre la guerra de Vietnam. Sin embargo, en una entrevista de 2016, Fogerty explicó que la canción va, en realidad, sobre la proliferación de armas en los EEUU. “De lo que quería hablar era del control de armas y de la proliferación de armas… Recuerdo haber leído en esa época que había un arma por cada hombre, mujer y niño en EEUU, lo que me pareció asombroso. Así que en algún lugar de la canción, creo que dije “200 millones de armas están cargadas”. Simplemente pensé que era inquietante caminar por nuestro propio país, con la certeza de que hay tantas armas privadas propiedad de algunas personas responsables pero, tal vez, de muchas personas irresponsables.” Bueno pues, como vemos, poco ha cambiado el paisaje. Run Through the jungle. Una última canción relacionada con la guerra de Vietnam. Who’ll stop the rain, ¿quien detendrá la lluvia”, una cara B de Travellin’ Band que se ha hecho inmortal. Fogerty, que por azar se había librado de su viaje de ida al conflicto, veía angustiado esa procesión de ataúdes que regresaban del sudeste asiático. Estas imágenes inspiraron la canción. La gente se congregaba para mantener viva la llama, pero la lluvia seguía cayendo, cayendo encima de mí. Y yo me pregunto: «¿Quién puede detener esta lluvia?». Antes de despedirnos de la banda me gustaría recordar la estupenda versión que la Creedence hizo de un clásico: The mindnight special, una canción folclórica tradicional que se cree se originó entre los prisioneros en el sur de Estados Unidos. Se refiere al tren de pasajeros Midnight Special. La canción ha tenido innumerables versiones: Les Paul, Pete Seeger, Peter, Paul an Mary, Van Morrison, Eric Clalpton, en fin, un montón. Escuchamos pues la de Creedence Clearwater Revival. Bueno, pues, cuando CCR llegó a sus tormentoso final, cada uno de los miembros tiró por su lado. De todos, John Fogerty, fue el que tuvo más éxito en su carrera en solitario, cosa nada rara habida cuenta del talento compositor que tenía. Aunque, paradójicamente, su primer disco en solitario, The Blue Ridge Rangers, está dedicado completamente a versiones de canciones tradicionales y country y, para no discutir con nadie, él tocó todos los instrumentos. La situación de John no era, en absoluto, cómoda. Fruto de sus nefastas negociaciones con la discográfica, tras la disolución del grupo todavía debía ocho discos. Finalmente, y tras la compra de su deuda por un millón de dólares, pudo seguir su carrera. Vamos a escuchar de este The Blue Ridge Rangers uno de los sencillos: Jambalaya El siguiente trabajo fue Centerfield, un éxito de ventas en 1985. Con el disco debajo del brazo se embarcó en una gira en la que fue muy criticado por no cantar ninguna de las canciones de la Creedence y por sus problemas con la voz. El se justificaba de la voz porque, decía, la había perdido por haber tenido que declarar tantas veces en los tribunales. Por otro lado, el hecho de no cantar ninguna de las canciones de su grupo anterior se debía a que debía pagar derechos de autor al, por entonces, propietario de los temas, Saul Zaentz. Al publicar Centerfield, nuevamente se vio inmerso en juicios con el dichoso Zaentz, su bestia negra. Éste le acusaba de que la canción The Old Man Down the road era una copia del tema de Creedence Run through the jungle. Desde que Fogerty se había desvinculado con Fantasy Records, las canciones de Creedence había pasado a formar parte del catálogo de Fantasy, propiedad de su “amigo” Zaentz, por lo que éste demandó a Fogerty por “autoplagio”. En este caso, el jurado sentenció a favor de Fogerty pero perdió en otro pleito que el terrible Zaentz le había iniciado por difamación en la canción Zanz kant danz en la que decía: “Zanz no puede bailar, pero sí te robará el dinero”. Fogerty tuvo que reeditar la grabación cambiando Zanz, con z por Vanz, con v. Y esta es la canción en discordia, Zanz kant danz. En 1987 John Fogerty rompió la censura a los temas de Creedence que él mismo se había impuesto por que decía que, “Si no lo saben, todo el mundo piensa que Proud Mary es una canción de Tina Turner”. En la actualidad, John Fogerty sigue interpretando temas de Creedence y de su carrera en solitario. Por su parte, Tom Fogerty también publico álbumes en solitario pero ninguno alcanzó el éxito de Creedence. El tercer álbum de Tom, grabado en 1974, Zephyr National, fue el último en incluir a los cuatro miembros del grupo aunque John grabó sus pistas en solitario. En septiembre de 1990, Tom Fogerty falleció de sida, enfermedad que había contraído en un transfusión sanguínea durante una intervención quirúrgica. Alguna de las canciones de Tom mantenían el sonido característico de Creedence, como podemos apreciar en este Joyful Resurrection. El resto, Clifford y Cook, continuaron trabajando juntos tras la disolución de Creedence, tanto como músicos de sesión como miembros de una nueva banda, la Don Harrison Band. Tras un largo periodo de inactividad, ambos formaron “Creedence Clearwater Revisited” en 1995 y junto a músicos de prestigio ofrecieron conciertos en los que interpretaban temas de la banda original. Medio en broma, medio en serio, John Fogerty decía en una entrevista: “Muchas personas nos vieron como la respuesta americana a The Beatles, podríamos dejarles a ellos el primer puesto como mejor grupo del mundo y colocar a Creedence en segundo lugar”. Bueno, y ¿por qué no?, diría yo. Muy bien amigos, pues hemos terminado por hoy. Os espero a todos nuevamente, dentro de quince días, aquí, en Siénteloconoido.caster.fm. Hasta entonces… ¡¡¡Buenas Vibraciones”.
For the second episode of March we are continuing our celebration of female artists for Women's History Month! Sam goes outlaw country while Peter slaps you in the face with a blazing fast tech death tune.Our songs for this week:I Don't Owe You Anything by Tanya Tucker, from her 2019 album While I'm Livin' released via Fantasy Records.If You're Going to Do It, Do It Now by Anna Pest (ft. Jason Evans), from her self-released 2021 album Dark Arms Reach Skyward With Bone White Fingers.Support the show (https://www.buymeacoffee.com/2songs1couple)
Brian breaks down the amazing story of Tommy James and his roller coaster relationship with the "Godfather of the Music Business." Support the show on Patreon. SHOW NOTES: Books used: Me, the Mob and the Music by Tommy James and Martin Fitzpatrick Godfather of The Music Business by Richard Carlin Hit Men by Fredric Dannen https://variety.com/2019/film/news/tommy-james-biopic-me-the-mob-and-the-music-development-1203271345/ Me, the Mob and the Music Book promotional event: https://www.youtube.com/watch?v=r7enAd3jK9k https://www.clicktrack.fm/p/the-dark-history-of-the-jukebox-how https://www.theguardian.com/music/2021/jan/22/tommy-james-pop-star-robbed-interview
The guys let a listener letter lead them into the deep details of all the legal entanglements that defined one of the biggest rock bands of all-time. SHOW NOTES: Songs in this episode: Cast Your Fate to the Wind – Vince Guaraldi Trio, Run Through the Jungle – CCR, Old Man Down the Road – John Fogerty https://en.wikipedia.org/wiki/Creedence_Clearwater_Revisited https://en.wikipedia.org/wiki/Creedence_Clearwater_Revival https://en.wikipedia.org/wiki/Saul_Zaentz https://www.mentalfloss.com/article/27501/time-john-fogerty-was-sued-ripping-john-fogerty Academic journal article about the CCR contract with Fantasy: https://www.meiea.org/Journal/Vol12/Bordowitz https://en.wikipedia.org/wiki/Cast_Your_Fate_to_the_Wind https://en.wikipedia.org/wiki/Proud_Mary https://en.wikipedia.org/wiki/Castle_Bank_%26_Trust_(Bahamas) https://en.wikipedia.org/wiki/Centerfield_(album)
This week, we launch season 4 of the show with a bilingual banjo-slinging singer-songwriter originally from Montreal and now based in Nashville: Allison Russell. After two decades of quietly creating heart-on-her-sleeve roots music in hard-touring groups like Po' Girl, Birds Of Chicago, and recently the supergroup Our Native Daughters - playing the guitar, clarinet, banjo and singing in English and French - the spotlight finally fell straight on Russell in 2021. With the help of her husband and longtime creative partner JT Nero, she released her visceral debut solo record Outside Child which confronts her traumatic childhood head on. Rarely has an album struck such a nerve in the Americana community, as songs like “4th Day Prayer” use the slippery soul of Al Green's best work and Mahalia Jackson's gospel inspiration to paint in white-knuckled detail how she escaped the abusive home of her stepfather for the graveyards and streets of Montreal. As she tells us in the intense conversation from her home in Tennessee, it was her songwriting hero Brandi Carlisle who went to bat for her (a bold Instagram DM set fate in motion,) helping get her raw, unreleased songs to Fantasy Records. Thankfully, they wanted to take a leap. Even President Obama noticed after the songs began to circulate and he put her ominous radio standout “Nightflyer” on his favorite songs of the year list. The album has since been nominated for three Grammy awards. While Allison may feel like an “overnight sensation” to those just discovering her on AAA radio, hearing her soaring voice shining on stages from Carnegie Hall, Red Rocks and the Late Show with Stephen Colbert, she's been playing hundreds of shows in small clubs and festivals around the world for twenty-two years and counting. It hasn't been an easy road, as she often had to her young daughter on the trail with her. With a new book deal in the works continuing her story where Outside Child left off, there is much more to come from Russell. A champion for the often forgotten victims of domestic and sexual abuse, listening to Russell speak reminds one more of a fiery community organizer than a singer. Did your host try and convince Russell to run for office? Maybe.Stick around to hear her dive into one of her favorite tracks from the new record, the hopeful clarinet shuffle “Poison Arrow."Support this podcast at — https://redcircle.com/the-show-on-the-road-with-z-lupetin1106/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Singer and songwriter Natalie Hemby joins Maggie to talk about her journey from songwriter to band member to solo artist; finding her voice, and the stories behind some of her lyrics. Natalie explains her approach to writing with other musicians, and why she thinks it's an amazing time to be an artist.2x GRAMMY Award-winner Natalie Hemby is revered as one of the music industry's most notable songwriters creating hit after hit behind the scenes. Now, she's poised for a breakout, with the release of her exceptional sophomore album Pins and Needles out now via Fantasy Records.Salute the Songbird is brought to you by Osiris Media. Hosted by Maggie Rose. Produced by Austin Marshall, Maggie Rose, Kirsten Cluthe and Brad Stratton. Music by Maggie Rose. Show logo by Premier Music Group. Graphics by Katherine Boils. See acast.com/privacy for privacy and opt-out information.
Dilana Smith is originally from South Africa. She's a singer, songwriter, and performer. She was on the CBS reality television show Rock Star: Supernova, appeared on the Voice of Holland, & was the lead singer for Tracii Guns' version of L.A. Guns. Her last album, Insideout, was released last year. Dale Stewart is a bass player best known for being in the South African band Seether. Seether has to date three platinum and two gold albums, 17 #1 singles, 21 Top 5 multi-format hits, single sales topping 17 million and over 2 billion streams world-wide across all platforms. Seether is Billboard's #8 All-Time Mainstream Rock Artist, which covers the 40-year history of the chart's existence. Their most recent album — their eighth — Si Vis Pacem, Para Bellum (If You Want Peace, Prepare for War), was released last year through Fantasy Records.
Show #926 Beardo's Birthday Bash 2021 This year's episode that is dedicated to Beardo with a nice variety of tunes selected by a couple of friend of Bandana Blues. It is a great show, so start listening! 01. Gwendolyn Sanford & Brandon Jay - Happy Birthday Clappy (0:38) (Weeds-Instrumentals from the Series Vol. 1, Lionsgate Records, 2008) 02. Oreo Blue - Born To Suffer (4:26) (Nuthin' But The Blues, self-release, 1998) 03. Nace Brothers Band - Space In Your Heart (5:02) (Club 15, self-release, 1994) 04. Oscar Alemán - Bye Bye Blues [1942] (3:05) (Swing Guitar Masterpieces 1938–1957, Acoustic Disc, 1998) 05. Bill Doggett - Honky Tonk (Parts 1+2) (5:32) (45 RPM Single, King Records, 1956) 06. Cassandra Wilson - 32-20 Blues (5:23) (New Moon Daughter, Blue Note Records, 2003) 07. Peter Green Splinter Group - Help Me (4:48) (Soho Session, Snapper Music, 1999) 08. Oscar Alemán - Tico Tico No Fuba [1943] (2:49) (Swing Guitar Masterpieces 1938–1957, Acoustic Disc, 1998) 09. The Kinks - Father Christmas (3:43) (Single, Arista Records, 1977) 10. Albert Collins - Don't Go Reachin' Across My Plate (3:44) (Frostbite, Alligator Records, 1980) 11. Jeff Beck - Diamond Dust (8:22) (Blow By Blow, Epic Records, 1975) 12. Johnny Meyer - Johnny's Blues (2:18) (In Swinging Amsterdam, BASF Records, 1974) 13. John Too Cool McCool - Mississippi Blue (3:27) (Digital self-release, 2002) 14. Gov't Mule - Feel Like Breaking Up Somebody's Home (5:44) (Heavy Load Blues, Fantasy Records, 2021) 15. Albert Castiglia - I Been Up All Night (5:27) (Up All Night, Ruf Records, 2017) 16. Altered Five Blues Band - Holding On With One Hand (3:56) (Holler If You Hear Me, Blind Pig Records, 2021) 17. Ricci & Krown - The Jimmy Smith Strut (4:18) (City Country City, Gulf Coast Records, 2021) (#923) 18. Oscar Alemán - Limehouse Blues [1944] (2:41) (Swing Guitar Masterpieces 1938–1957, Acoustic Disc, 1998) 19. DogTown Blues Band - Cookin' In Style (3:13) (Search No More, RVL Music, 2021) 20. Fleetwood Mac - Albatross (3:06) (45 RPM Single, Blue Horizon Records, 1968) 21. Jean-Jacques Milteau - Beaumont Lafayette (2:49) (Soul Conversations, Dixiefrog Records, 2008) 22. Red Peters - Holy Shit It's Christmas(3:04) (I Laughed, I Cried, I Fudged My Undies!, 1995) 23. Paul Lamb & the King Snakes - Going For It (2:44) (I'm On A Roll, Blue Label, 2005) 24. Curtis Salgado - Too Loose (3:40) (Curtis Salgado & the Stilettos, JRS Records, 1991) 25. R.J. Mischo - Little Village (4:01) (Cool Disposition, CrossCut Records, 1997) 26. Rev. Jimmy Bratcher - Check Your Blues At The Door (3:17) (Secretly Famous, Ain't Skeert Tunes, 2013) 27. Oscar Alemán - Scartunas [1944] (2:30) (Swing Guitar Masterpieces 1938–1957, Acoustic Disc, 1998) 28. Danny B. Harvey - The Falcon (3:20) (Single, self-release, 2021) 29. Frank Zappa - Tinsel Town Rebellion (4:34) (Tinsel Town Rebellion, Barking Pumpkin Records, 1981) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Singer Songwriter Andrea von Kampen joins host David W. Williams to discuss her brand new album That Spell. We discuss her early career, influences, and how she started making music. We talk about her independent recordings and her recent signing to Fantasy Records. We play clips from each album and we talk about pivotal career turning points. We dig in deep on the new album and talk through several songs off That Spell. If you love vinyl records, discovering new music, rediscovering music you already know, and learning about the music creators, this is the podcast for you. To learn more, and sign up for our record of the month club, visit BlindTigerRecordClub.com. Hosts: David W. Williams Executive Producer - David W. Williams A Blind Tiger Entertainment, LLC Production This episode was edited and mixed by the team at Sound On Studios Theme song written and produced by Jasen Rauch Stay connected to the music and follow us: https://www.facebook.com/blindtigerrecordclub https://www.instagram.com/blindtigerrecordclub.com/ https://twitter.com/BlndTgrRcrdClub
Incredible arranger and musician talks about creating parts on the fly as a part of Fantasy Records.
Why Not Both is an exploration of how our multiple passions shape our identity, hosted by musician and therapist Pam Shaffer and produced by writer and photographer Laura Studarus. For our fourth season, we partnered up with Under The Radar to explore the lives of musicians, writers, actors, and creatives. The past year and a half has shown us all that our true vitality comes from our interwoven communities, as musician Allison Russell pointed out in many ways over the course of our chat. She had the chance to demonstrate this very point when her album Outside Child got signed to Fantasy Records and when she curated a stage at the Newport Folk Festival to highlight up and coming artists. Though her talent and presence is undeniable Russell makes sure to emphasize her supportive web of friends and colleagues uplifts her daily and that she in turn uses this to lift others up around her too. Thanks again for listening! Make sure to subscribe, leave us a nice review, and hang out with us on Insta and Twitter. You can also support us on Patreon. --- Support this podcast: https://anchor.fm/why-not-both/support
You know the song 867-5309/Jenny is a ubiquitous icon of the 80's -- ranking number four on VH1's Hits of the 80's. Now let's hear the story of the song's writer: Alex Call On today's episode, we'll hear about his songwriting process for Jenny – and his live acoustic performance of 867-5309, plus three other hits that made the Billboard Hot 100 Power of Love and Perfect World, (written for Huey Lewis and the News) And Mr. Moon by Elvis Costello Alex Call has been a hit recording artist and songwriter for over thirty years. His muse is legendary in the industry, and his songs have become musical icons of American pop culture. I met Alex at a small café several years ago, and had the chance to record our conversation. He shared highlights of his career as told in his book, “867-5309: The Song That Saved Me.” I didn't know then that I'd have a podcast on the creative process, so I feel fortunate to have captured this story. Alex Call was lead singer in the San Francisco cult-fave Country-rock band Clover, along with Huey Lewis and John McFee, now lead guitarist, Doobie Brothers Clover was the band on Elvis Costello's first hit album, “My Aim is True.” In the introduction to the book, Elvis Costello says, “You've written a vivid, honest feeling memoir Alex and his Clover colleagues were once almost-mythical figures on a record sleeve to me. This book fills in the human story between those photographs and the guys I got to know at the very start of my career and those I am still happy to call my friends. Read this and you'll realize, music has been a passport, an occasional alibi and something to catch you when you fall.” Alex has been a recording artist for Arista Records, Mercury Records, and Fantasy Records. Let's listen to Alex start at the beginning of the story of what became “Jenny, Jenny”…. Including that famous guitar hook So, as Alex said, he felt he had all the pieces of a hit song. Here's how it came together…. All of the culminated in the song you can't get out of your head now -- 867-5309/Jenny recorded by Tommy Tutone This and his songs are featured in movies and TV, and have served as branding for numerous national ad campaigns. Finally, as promised, let's listen to acoustic coffee shop performances of 3 other songs from Alex Call Thanks for listening to this episode featuring Alex Call; his book is “867-5309: The Song That Saved Me.” and come back again next time for more creative inspiration. I'm Mark Stinson – and we're Unlocking your world of creativity.
Not ones to rest on their laurels, Seether are preparing to release Wasteland – The Purgatory EP which will be available digitally and on CD July 30 and on vinyl October 22 via Fantasy Records. The EP comes less than ten months since Seether's highly successful eighth album Si Vis Pacem, Para Bellum (If You Want Peace, Prepare For War). After the first two singles swept all before them, Seether have elected to release two versions of Wasteland – one the album version, and the other an alternate version, plus three tracks left over from the last recording session. Vocalist Shaun Morgan spoke with HEAVY in the lead up to the EP's release. “We had some great success with the first two singles over here in the states,” he explained. “They both went number one which is... it's been a long time since we've had that much attention and time and energy with singles back-to-back and when it came to choosing the third single, I think all of us, as far as the band goes, it's one of our favourite songs on the album, and we really wanted to get an elevated amount of attention from both fans and press and radio programmers around the world, so it's an important song for us and I think that we felt the best way to do that was supplement it with this little EP as a bonus. The songs that are on the EP are the original album versions and then there are three B sides from the last album we released, they were actually being held aside for either the deluxe edition of the album or the next album because we recorded 21 tracks in total. Finally, the EP is tied together with the alternate version of Wasteland which we re-recorded. We dropped the tuning slightly, we added piano and strings and strangely enough I think I like the alternate version of the song more than I like the original (laughs)." In the full interview Shaun runs us through each song individually, talks about the stripped back version of Wasteland and the addition of instruments such as piano and cello, the EP title and its significance, future music and his top three Commandments Of Rock.
Show #902 Stay Tuned 01. Mark Cameron - One Size Fits All (3:13) (Back From The Edge, COP Records, 2021) 02. Debbie Bond - Blue Rain (3:20) (Blues Without Borders, Blues Root Productions, 2021) 03. Rodd Bland & the Members Only Band - Up And Down World (3:41) (Live On Beale Street, Nola Blue Records, 2021) 04. Blu Acid (ft. John Blake) - Keep It Burning (3:28) (Blu Acid Featuring John Blake EP, Blu ACiD Records, 2021) 05. Wily Bo Walker - Tomorrow We Will (Laissez les Bon Temps Rouler) (4:15)(Single, Mescal Canyon Records, 2021) 06. Adam Schultz - Harlem Tonight (3:58) (Soulful Distancing, Blue Heart Records, 2021) 07. Kelly's Lot - Black Eye Blues (3:15) (Where And When, self-release, 2021) 08. Patty Tuite - Please Don't Feel Lonely (4:41) (Consider This, Thread City Productions, 2021) 09. Dani Wilde - Wild Women Don't Have The Blues (3:38) (Single, VizzTone Records, 2021) 10. Regina Bonelli - I Got To Go (3:22) (Single, True Groove Records, 2021) 11. Guy Verlinde & the Houserockers - Show Some Mercy (3:42) (How How How, Parsifal Records, 2017) 12. Tiffany Pollack & Co. - Crawfish And Beer (3:23) (Bayou Liberty, Nola Blue Records, 2021) 13. Jimmy Dale Richardson - '58 Buick (3:02) (Single, Fun Guy Records, 2021) 14. Dani & the Axxmann - Faded Rose Tattoo (3:41) (Single, self-release, 2021) 15. Atomic 44's - My '49 (4:15) (Volume One, Bird Dog Records, 2021) 16. Teskey Brothers - Man Of The Universe (4:09) (Run Home Slow, Decca Records, 2019) 17. Louise Cappi - Hope (5:06) (Single, MTS Records, 2021) 18. Marcus King Band - Homesick (6:24) (Carolina Confessions, Fantasy Records, 2018) 19. Soulful Femme - Trouble ((It Is Well With My Soul, MTS Records, 2021) 20. Tommy Z - Sticky Lips (7:47) (Plug In & Play, South Blossom Records, 2021) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Gestur þáttarins að þessu sinni er Grímur Atlason framkvæmdastjóri Geðhjálpar. Hann mætir með uppáhalds Rokkplötuna klukkan 21.00. Vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er fyrsta plata Creedence Clearwater Revival sem er samnefnd hljómsveitinni. Hún kom út þennan dag fyrir 53 árum eða árið 1968 auk þess sem John Fogerty leiðtogi sveitarinnar á afmæli í dag, hann er 76 ára. Hann var 22 ára þegar þessi fyrsta plata Creedence kom út. Creedence Clearwater Revival hét upphaflega The Golliwogs og Golliwogs var búin að gefa út slatta af lögum á sjöunda áratugnum áður en nafninu var breytt í Creedence Clearwater Revival og fyrsta stóra platan kom út. Árið 1967 keypti Saul nokkur Zaentz plötufyrirtækið Fantasy Records sem hafði gefið út allar litlu plöturnar með Golliwogs. Hann hafði trú á hljómsveitinni og bauð strákunum að taka upp og gefa út stóra plötu ef þeir myndu breyta nafni hljómsveitarinnar. Það var þá sem þeir tóku upp nafnið Creedence Clearwater Revival. Við þessa breytingu tók John Fogerty eiginlega við stjórn hljómsveitarinnar. Hann samdi öll lögin, hann söng og hann stjórnaði upptökunum, en í Golliwogs hafði Tom bróðir hans verið söngvarinn. Platan náði 52. sæti bandaríska vinsældalistans á sínum tíma, seldist þokkalega en gagnrýnendur voru þeim ekki mjög hliðhollir. Í dómi í Rolling Stone segir gagnrýnandi að eini ljósi punkturinn í hljómsveitinni sé John Fogerty. Hann sé yfir meðallagi söngvari og þokkalegur gítarleikari en þar með sé það upptalið. Trommarinn er mónótónískur, bassalínurnar lítið spennandi og ryþmagítarinn heyrist varla. Í seinni tíð hafa dómar verið aðeins jákvæðari þó svo flestir séu sammála um að lagasmíðar Fogerty?s áttu eftir að vrða mun betri á plötunum sem fylgdu í kjölfarið, en John Fogerty samdi næstum öll lögin á öllum sjö plötum Creedence Clearwater Revival.
Gestur þáttarins að þessu sinni er Grímur Atlason framkvæmdastjóri Geðhjálpar. Hann mætir með uppáhalds Rokkplötuna klukkan 21.00. Vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er fyrsta plata Creedence Clearwater Revival sem er samnefnd hljómsveitinni. Hún kom út þennan dag fyrir 53 árum eða árið 1968 auk þess sem John Fogerty leiðtogi sveitarinnar á afmæli í dag, hann er 76 ára. Hann var 22 ára þegar þessi fyrsta plata Creedence kom út. Creedence Clearwater Revival hét upphaflega The Golliwogs og Golliwogs var búin að gefa út slatta af lögum á sjöunda áratugnum áður en nafninu var breytt í Creedence Clearwater Revival og fyrsta stóra platan kom út. Árið 1967 keypti Saul nokkur Zaentz plötufyrirtækið Fantasy Records sem hafði gefið út allar litlu plöturnar með Golliwogs. Hann hafði trú á hljómsveitinni og bauð strákunum að taka upp og gefa út stóra plötu ef þeir myndu breyta nafni hljómsveitarinnar. Það var þá sem þeir tóku upp nafnið Creedence Clearwater Revival. Við þessa breytingu tók John Fogerty eiginlega við stjórn hljómsveitarinnar. Hann samdi öll lögin, hann söng og hann stjórnaði upptökunum, en í Golliwogs hafði Tom bróðir hans verið söngvarinn. Platan náði 52. sæti bandaríska vinsældalistans á sínum tíma, seldist þokkalega en gagnrýnendur voru þeim ekki mjög hliðhollir. Í dómi í Rolling Stone segir gagnrýnandi að eini ljósi punkturinn í hljómsveitinni sé John Fogerty. Hann sé yfir meðallagi söngvari og þokkalegur gítarleikari en þar með sé það upptalið. Trommarinn er mónótónískur, bassalínurnar lítið spennandi og ryþmagítarinn heyrist varla. Í seinni tíð hafa dómar verið aðeins jákvæðari þó svo flestir séu sammála um að lagasmíðar Fogerty?s áttu eftir að vrða mun betri á plötunum sem fylgdu í kjölfarið, en John Fogerty samdi næstum öll lögin á öllum sjö plötum Creedence Clearwater Revival.
Gestur þáttarins að þessu sinni er Grímur Atlason framkvæmdastjóri Geðhjálpar. Hann mætir með uppáhalds Rokkplötuna klukkan 21.00. Vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er fyrsta plata Creedence Clearwater Revival sem er samnefnd hljómsveitinni. Hún kom út þennan dag fyrir 53 árum eða árið 1968 auk þess sem John Fogerty leiðtogi sveitarinnar á afmæli í dag, hann er 76 ára. Hann var 22 ára þegar þessi fyrsta plata Creedence kom út. Creedence Clearwater Revival hét upphaflega The Golliwogs og Golliwogs var búin að gefa út slatta af lögum á sjöunda áratugnum áður en nafninu var breytt í Creedence Clearwater Revival og fyrsta stóra platan kom út. Árið 1967 keypti Saul nokkur Zaentz plötufyrirtækið Fantasy Records sem hafði gefið út allar litlu plöturnar með Golliwogs. Hann hafði trú á hljómsveitinni og bauð strákunum að taka upp og gefa út stóra plötu ef þeir myndu breyta nafni hljómsveitarinnar. Það var þá sem þeir tóku upp nafnið Creedence Clearwater Revival. Við þessa breytingu tók John Fogerty eiginlega við stjórn hljómsveitarinnar. Hann samdi öll lögin, hann söng og hann stjórnaði upptökunum, en í Golliwogs hafði Tom bróðir hans verið söngvarinn. Platan náði 52. sæti bandaríska vinsældalistans á sínum tíma, seldist þokkalega en gagnrýnendur voru þeim ekki mjög hliðhollir. Í dómi í Rolling Stone segir gagnrýnandi að eini ljósi punkturinn í hljómsveitinni sé John Fogerty. Hann sé yfir meðallagi söngvari og þokkalegur gítarleikari en þar með sé það upptalið. Trommarinn er mónótónískur, bassalínurnar lítið spennandi og ryþmagítarinn heyrist varla. Í seinni tíð hafa dómar verið aðeins jákvæðari þó svo flestir séu sammála um að lagasmíðar Fogerty?s áttu eftir að vrða mun betri á plötunum sem fylgdu í kjölfarið, en John Fogerty samdi næstum öll lögin á öllum sjö plötum Creedence Clearwater Revival.
Tune in as Allison Russell and JT Nero discuss their song writing process and the life experiences that inspired upcoming album, Outside Child (produced by Dan Knobler). Russell’s startlingly honest and endearing premiere solo album, to be released this Spring on Fantasy Records, allows us to imagine the beauty of possibilities and to envision the promise of an ultra-bright horizon.
Gone in 30 Minutes Season Two begins with Fantasy Records’ acclaimed genre-bending singer-songwriter, Valerie June. On the heels of her latest release, The Moon and Stars: Prescriptions for Dreamers, produced by Jack Splash (Kendrick Lamar, Alicia Keys, John Legend) and June herself, she shares the creative methods that drive her artistic vision—including the reason she originally kept her desire to be a singer a secret and revealing the instrument she’d love to master. With exceptional humility and effervescent vim, Valerie June reminds us all, when the heaviness of the world gets you down, never stop dreaming.
CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Mental illness, suicide, emotional turmoil, mental health facilities, institutional abuse, emotional abuse, emotional manipulation, racism, sexism, indigenous tokenism, alcohol, abusive language. We finally got a good one, y’all. I mean, if you know anything about Oscars history, you know this week’s movie has a giant legacy when it comes to the Oscars. But as we’ve seen this season, there’s a ton of highly praised films from this year that don’t remotely live up to their hype. Fortunately, this movie does. Unlike most of its counterparts, this movie hopes to capture the spontaneity and magic of a candid moment, of the reactions of characters. Instead of a stodgy film about big characters talking to one another, it’s a film instead of reactions, sudden and gripping. And it’s a film that’s both highly metaphorical while also being incredibly human. It doesn’t hurt to have a lead at the top of his game and a supporting cast of absolute powerhouse actors. It’s medication time as we continue our Oscars ‘75 series with One Flew Over the Cuckoo’s Nest. PLUS: A review of the new film Judas and the Black Messiah. You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “One Flew Over the Cuckoo’s Nest (Closing Theme)” from the film One Flew Over the Cuckoo’s Nest, composed and arranged by Jack Nitzsche. Copyright 1975 Fantasy Records. Clips taken from the film One Flew Over the Cuckoo’s Nest are © 1975 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from the “Overture” to the film Funny Girl, written and composed by Jule Styne and Bob Merrill. Copyright 1968 Columbia Records / CBS, Inc.
Notice how all these celebrities have taken up podcasting as a way to supplement Hollywood being (sort of) shut down, and in the process stealing all the good listener-based revenue away from actual podcasters? Well, let's see how THEY like it when our heroes online give THEIR films two middle fingers up! Cast provided by Buford Casting Call at castingcall.club The Players: Krypt "krypton" Maden- Caitlin R, Alice N, Gabriella H; Keke "hitsosticky" Kitching- Dawn P, Olivia T, Bradley P; Tim "Gentleman Fencer" Harris- Josh L, Mark L, Will M; M'Jean "mj mase" Mason- Master of Ceremonies Produced, written, directed, and edited by M'Jean Mason for M'Jean Mason Media From a concept by John Wesley Norton for Boomstick Films and Entertainment Theme- "Hungarian Rhapsody No. 2" by Franz Liszt "The Riot" produced and recorded by Ed Bogas and Ray Shanklin for Fantasy Records, 1972. Used for transformative purposes only as permitted by Section 107 of the Copyright Act of 1976. No infringement intended. Additional music and audio effects provided by the Zapsplat Sound Effects Library at zapsplat.com Visit us at disappointmenttheatre.com for more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mjean-mason-media/support
CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Sexism, misogyny, mention of rape, manipulation, gaslighting, infidelity. Time to throw another flag in the ground for this podcast - Warren Beatty can’t act. Like, he might be slightly pretty, but if today’s entry is indicative of the man’s career, a plank of 2x4 would be a better casting option than the absolute black hole of this guy. It’s incredibly frustrating, because on paper, this movie should be 1000 times better. A great director, a fantastic supporting cast, and a script that, bare bones, deserves a new fresh take because it’s both hilarious and also heartbreaking. But the absolute pretentious nonsense that Beatty brings to the script, coupled with his absolute lack of presence or understanding of his character, will leave anyone scratching their head as to why this movie is considered part of the comedic pantheon. Grab your blow dryer and your clippers to try and make some sense of this horrible hairdo as we continue our Oscars ‘75 series with Shampoo. You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Wouldn’t it Be Nice,” written by Brian Wilson and Tony Asher, and performed by The Beach Boys. Ⓟ© 1966, 2016 Capitol Records, LLC. Excerpt taken from the unreleased version of “SIlent Eyes” used in the film Shampoo, © 1975, renewed 2003 Columbia Pictures Industries, Inc. All Rights Reserved. Excerpt taken from “One Flew Over the Cuckoo’s Nest (Closing Theme)” from the film One Flew Over the Cuckoo’s Nest, composed and arranged by Jack Nitzsche. Copyright 1975 Fantasy Records.
Topics: Growing up in San Francisco in a famous music family Talking to Muhammed Ali on a cell phone in 1969Being around Fantasy Records when John Fogerty worked in the warehouse Wilt Chamberlin taking Merl to his guitar lessons Roadying for his Dad with Paul Butterfield Jerry Garcia & Merl SaundersTouring with David CrosbyMichael Jackson Tour “BAD” Tour Meeting Frank Zappa and working as his guitar tech on the 1988 tour Working for Milli Vanilli up the last gig Building The Fenix in San Rafael Merl Saunders, the Wetlands, Blues Traveler Potential Archival releases Support the show (https://www.patreon.com/user?u=39941006&fan_landing=true)
This week Joe is featuring pianist Bill Evans from his 1974 Fantasy Records recording titled "From the 70's."
GEORGE MARSH Dave Brubeck helped shape my musical life. He was incredibly honest and fearless in his musical directions. A mixture of classical and jazz in his improvisations mixed with odd time signatures and a joyful and playful approach towards experimenting. His music was never boring and always accessible. Too hip to try to be hip. He taught me how to be myself by always being himself in his music. If you can find it, check out Stardust, recorded back in the 50’s on Fantasy Records. --- Support this podcast: https://anchor.fm/jake-feinberg/support
Atenção aos SPOILERS! (atrasou, mas chegou :D) Nesse programa, discutimos o que mais gostamos (ou nem tanto) na nova temporada de Umbrella Academy, e concordamos que médicas assassinas são péssimas gestoras. Falamos alguma besteira? Tem alguma curiosidade ou sugestão de programa? Mande um email para seriextou@gmail.com e nos siga nas redes sociais para notícias do mundo das séries! #sériextou SUPER MÚSICAS (sim, essas músicas não são nossas): -Hard Times Come Again No More: licença por 2nd South Carolina String Band; -Swing the Mood: licença por BPM Digital Ltd; -The House Of The Rising Sun: licença por UMG, WMG (em nome de PLG UK Catalog); -Hey Jude: licença por UMG (em nome de Hear Music); -That's Life (Remastered 2008): licença por Universal Music Group; -Twist And Shout: licença por Calderstone Productions Limited (a division of Universal Music Group); -Tutti Frutti: licença por UMG (em nome de Fantasy Records); -La Bamba: WMG (em nome de Warner Records Label).
Сегодня мы отмечаем 50-летие известной американской рок-группы Creedence Clearwater Revival и их пятого студийного альбома, который называется «Cosmo's Factory» и появился 16 июля на лейбле Fantasy Records. Поистине, легендарная пластинка стала самой коммерчески успешной работой и возглавила чарты США, Великобритании, Австралии. На данный момент только в США продано более 4 млн экземпляров. Это уже четвертая программа посвящена Creedence Clearwater Revival и мы продолжаем слушать их музыку.
Сегодня мы отмечаем 50-летие известной американской рок-группы Creedence Clearwater Revival и их пятого студийного альбома, который называется «Cosmo’s Factory» и появился 16 июля на лейбле Fantasy Records. Поистине, легендарная пластинка стала самой коммерчески успешной работой и возглавила чарты США, Великобритании, Австралии. На данный момент только в США продано более 4 млн экземпляров. Это уже четвертая программа посвящена Creedence Clearwater Revival и мы продолжаем слушать их музыку.
Jesse Jones Jr. is a Miami native and a saxophonist extraordinaire. Jesse is one of those hidden treasures that you want to share with the world. He overwhelms you with his infectious positive attitude and dynamic stage presence. Jesse attended Mississippi Valley State University where he excelled in music. His journey began in Miami where he listened to a neighbor practice his sax while playing along with Cannonball Adderly albums. "I loved that sound and I was going to be a musician for the rest of my life." After college, Jones joined the military and the US Navy Show Band. He traveled in North and South America where he developed his showmanship. Besides playing the sax, clarinet, and flute, Jesse sang, tap-danced, and did comedy. He had a natural gift for getting the crowd to become part of his act. After the military, Jesse lived in Boston, until he moved back to Miami, where he signed with Fantasy Records in 1996, and produced his first CD Soul Serenade. His CD The So Then Collection was released in 2009. He combines the hard-bop influence of Cannonball Adderley, the funk of Hank Crawford, and the sweetness of Paul Desmond, along with the most unusual scat singing that drives jazz audiences wild. Jesse performed with Donald Byrd, Blue Mitchell, Dextor Gordon, Joe Williams, Dee Dee Bridgewater, Eartha Kitt, Clark Terry, Allan Harris, Ira Sullivan, Melton Mustafa, Dr. Lonnie Smith, and Monty Alexander. https://jessejonesjrmusic.com http://wijsf.org
Este pasado jueves John Fogerty, el californiano de El Cerrito, cumplía 75 años. Considerado como uno de los más importantes compositores de la música norteamericana del siglo XX, cuenta en su haber con innumerables himnos, sobre todo los compuestos en su etapa al frente de aquella banda que nos dejó las mejores muestras de rock pantanoso. Seguro que en cualquier momento, en algún bar de Estados Unidos, puedes encontrar a alguien que haga sonar un clásico de la Creedence Clearwater Revival. En TOMA UNO siempre hemos tenido a John Fogerty entre nuestros favoritos y, por supuesto, nos anticipamos a la edición de Wrote a Song For Everyone, un disco en el que el músico californiano apareció rodeado de amigos. “Mystic Highway” nos reencontró con el mejor exponente del swamp rock que siempre encarnó la Creedence Clearwater Revival. Era uno de los dos temas inéditos que Fogerty añadió a aquel proyecto que hoy nos sirve apertura para felicitarse por estar en este mundo desde hace tres cuartos de siglo. Estaba previsto que nos visitara el próximo 17 de junio para dar un único concierto en España, pero la pandemia ha hecho que tengamos que esperar hasta el próximo 2021. John Fogerty, el líder de la Creedence Clearwater Revival, siempre ha expresado su adoración por los grandes patriarcas de los estilos básicos de la música popular, como Hank Williams y Bill Monroe. Su versión a “Blue Moon Of Kentucky” es el refrendo de esa veneración por los artistas más enraizados. Las formas empleadas por él estaban muy cerca del rock‑a‑billy que se hacía en los años 50. De hecho su "Blue Moon Of Kentucky" fue una de las primeras canciones que grabó Elvis para Sun Records y Bill Monroe sería un referente necesario para los grupos que se movieron en el country rock de los años 60 y 70. El californiano, con 75 años recién cumplidos, es otro ejemplo más de la vitalidad imbatible de los míticos artistas, con una imponente facilidad para retener lo mejor de su carrera. Hace ya 11 años, nos regalaba un disco que resultó ser una secuela de aquel histórico debut en solitario del 73 bajo el nombre de The Blue Ridge Rangers, donde él tocaba todos los instrumentos. De hecho, el álbum se iba a titular originalmente The Return Of The Blue Ridge Rangers, pero decidió llamarlo Rides Again. En aquellos 10 días de sesiones se grabaron hasta 15 canciones, tres de las cuales no se incluyeron en la publicación definitiva, dando una visión poco habitual de la personalidad de John Fogerty. Además, le acompañaron músicos de la categoría de Buddy Miller o Greg Leisz. En un disco donde se aprecia pura nostalgia, la canción que sirvió de apertura sirvió para recordar a John Prine, a quien se llevó el Covid-19, y su “Paradise”, que formó parte de su disco de debut a comienzos de la década de los 70 haciendo referencia a la temática minera y a ciudades que desaparecen cuando las minas dejan de producir. Así ocurrió con Paradise, en el Muhlenberg County, del estado de Kentucky. Poco después de la edición del quinto álbum de John Fogerty Deja Vu All Over Again, abandonaba el sello DreamWorks y tardó tres años en regresar con Revival, que supuso su vuelta a Fantasy Records, la compañía que acogió sus mejores años y con la que mantuvo varias disputas legales durante demasiado tiempo. Revival estaba lleno de referencias al pasado, recordando en cierta manera a cuando Merle Haggard se preguntaba si los buenos tiempos en realidad habían pasado. Pero Fogerty no se regodeaba en ello, aunque siempre se ha mostrado bastante nostálgico. De hecho, en sus mejores canciones siempre ha escrito sobre un mundo un tanto irreal, lleno de fantasías. “Broken Down Cowboy” fue uno de esos cortes deliciosos y melancólicos. El próximo 19 de junio vamos a encontrarnos con publicaciones tan sobresalientes como los nuevos álbumes de Bob Dylan y Neil Young, además del EP especial de Blackberry Smoke Live From Capricorn Sound Studios, con una parte de sus ingresos destinados al Fondo de ayuda MusiCares para ayudar las personas de la comunidad musical afectada por el Covid-19. En este homenaje al mítico estudio de grabación, ha incluido su versión de "Keep On Smiling", el tema que dio título al tercer álbum de Wet Willie, con sede en Mobile, Alabama, en 1974. Para ello, Blackberry Smoke han contado con su vocalista y armónica Jimmy Hall y las Black Bettys en los coros. Hace 10 años escuchamos a Ashley Ray en el álbum Sweet Home Alabama - The Country Music Tribute To Lynyrd Skynyrd que publicó el sello Hip-O, atreverse con una versión precisamente de ese tema inmortal de la banda sureña. Nacida y criada en Lawrence, Kansas, Ashley había lanzado un EP en 2007, pero es mucho más reconocida por haber firmado canciones para artistas como Little Big Town, Lori McKenna, Wade Bowen, o Caroline Spence. A finales del próximo mes de junio verá la luz su primer álbum, Pauline, un recuento de sus experiencias familiares y hogareñas, las personas perdidas, las decisiones tomadas y el coraje de aceptar todas esas vivencias y compartirlas. “Dirty Work” es una canción de tintes burlones y sensuales, donde se encomienda a la Virgen y termina pidiendo consejo a la Mona Lisa. La actividad durante el confinamiento ha sido también la tónica de Grace Potter, la vocalista de Waitsfield, en Vermont, que animada por su marido, el productor Eric Valentine, ha lanzado un par de singles, una nueva canción original, y una versión del tema de David Bowie “As The World Falls Down”. Durante la cuarentena, Grace Potter ha compuesto “Eachother” y para lanzarla ha contado con la colaboración de Jackson Browne, Marcus King y Lucius. Es una reflexión sobre la cura de humildad que en realidad significa la aparición del Covid-19 para la raza humana. Las cosas que de verdad importan no son precisamente las cosas… son las personas. Heathcote Hill vienen desde Mamaroneck, en el condado de Westchester, perteneciente al estado de Nueva York, y que fue comprada al jefe de los Wappaquewam. El grupo ahora reside en la zona de New Rochelle, que ha sido precisamente epicentro de las infecciones por Covid-19, y no podían publicar mejor canción que “All I Remember Is You”, anticipo de su nuevo álbum que tiene prevista su edición en julio. Fue compuesta en conjunto y grabada muy poco antes de que la pandemia obligara al aislamiento. El folk rock luminoso de Heathcote Hill encuentra en su vocalista Megan Porcaro Herspring y en el guitarrista Tom Nelson las bases más sólidas de una formación que ha grabado cuatro álbumes en tres años. El californiano Chuck Prophet tiene sus raíces en Green On Red y también cuenta con un extenso recorrido en solitario. The Land That Time Forgot, su nuevo álbum es una especie de exorcismo sonoro cuya publicación se ha pospuesto hasta el 31 de agosto, pero que nosotros llevamos anticipando desde hace tiempo. “Best Shirt On” en un mensaje conmovedor a la constancia en tiempos tan duros como los del presente, cuando se pierde el empleo y se lucha entre la esperanza y la desesperanza. Chuck Prophet asistió a como su propio padre perdió su trabajo durante otra crisis y, sin embargo, cada día estaba a las 6 de la mañana desayunando mientras leía las páginas de ofertas de empleo del periódico vestido con su traje y oliendo a colonia. Sadler Vaden es bien conocido como guitarrista de The 400 Unit de Jason Isbell, pero ya hace cuatro años que debutó en solitario con un álbum de título homónimo y su continuación, Anybody Out There?, seha sido conformado entre las grabaciones de The Nashville Sound y Reunions junto a Jason Isbell, pero la idea de armar un proyecto completo no llegó hasta que no se terminó “Good Man”, un tema lleno de buen humor y mejores vibraciones sobre el que gira todo el álbum. Compuesta por Vaden junto al también guitarrista Audley Freed, es casi un himno sobre el esfuerzo por llevar una vida amable y positiva para sobreponerse a las dificultades. Ayer mismo, nuestro buenos amigos de Track Dogs editaban “At A Time Like This” (En un momento como este), grabada desde la cuarentena, una nueva canción, especial para esta situación extraña que seguimos padeciendo. Es una balada en la que el cuarteto cuenta con la colaboración de una vieja amiga y compañera de conservatorio de Robbie K. Jones, la chelista Adrianne Wininsky y su amigo, el violinista, Chris Demetriou, que han grabado desde Manchester la cuerda incluida en la canción, donde Track Dogs, contando con la voz solista de Garrett Wall, ha incorporado el fiscorno de Howard Brown, Dave Mooney coge la mandolina y Robbie K. Jones se encarga del bodhran, el típico tambor irlandés. Escuchar audio
Christian gets to spend time behind the kit with Creedence Clearwater Revival drummer, Doug “Cosmo” Clifford. They go through his life in music, first with the giants CCR, which between 1966-1973 were one of the most massively successful rock acts to ever hit the charts. Then they talk about the dissolution, the days in Tahoe as environmental activist, losing Tom Fogerty to AIDS, the Rock N Roll Hall of Fame debacle, reforming with CCR bassist Stu Cook that toured as Creedence Clearwater Revisited until retiring last year and most importantly, his new album Magic Window, that was mostly recorded in 1985, but now out for release!Doug Clifford achieved fame as the drummer of Creedence Clearwater Revival, a band he put together with his friends Stu Cook, John Fogerty and Tom Fogerty. They were in junior high school when they started playing and achieved worldwide success after signing with Fantasy Records in 1967. Although best known as a drummer, Clifford sang harmony vocals and contributed songs to the Creedence catalogue. He's been singing, writing songs and making music for as long as he can remember. After a lifetime on the road – ten years with Creedence Clearwater Revival and its predecessors and 25 years with Creedence Clearwater Revisited – the band he put together with bassist Stu Cook to perform live tunes from the Creedence catalogue – he's ready to again make his mark as a singer and songwriter. He'll be releasing Magic Window, a solo album recorded in 1985 and updated in 2020 on April 24, 2020, on CD Baby and all on streaming platforms.Clifford wrote the Magic Window songs at his piano at his Lake Tahoe, Nevada home. During downtime, he'd gaze out at the lake and mountains and write, sometimes alone, and sometimes with collaborators. “I had an analog studio with a good tape deck, so I could try out ideas without looking at the clock. I'd invite friends in to jam and experiment. I made Magic Window with Russell DaShiell on lead guitar. Russell's also an engineer and co-produced the sessions with me. I was going to use it to look for a record deal, but I got busy with other projects and touring. I just forgot about it.” Some of those projects included producing albums for Doug Sahm of the Sir Douglas Quintet and Texas Tornados, playing in Steve Miller's band and then joining Stu Cook to play Creedence hits with Creedence Clearwater Revisited. They have performed worldwide for 25 years, amassing many fans and crossing multiple generations to bring the wonderful CCR hits to people. They released an RIAA certified platinum live album. Last year, while cleaning out his garage, Clifford found the Magic Window masters.“I'd forgotten about the tapes, but they were in great shape. We were able to transfer the recordings to digital and warm things up a bit. I discovered more than 100 songs.” “Music's always been a medicine and a meditation for me. It doesn't matter if I'm down or up. It works both ways. We've seen some trying times in the last few years, and we can all use some love and magic. I put my heart and soul into the positive messages on this album. This is a good time to share them with the world.” https://dougcosmoclifford.com/https://concord.com/concord-albums/doug-cosmo-clifford/https://open.spotify.com/album/7KOK93bVycTNCpQW4GOrNd
Christian gets to spend time behind the kit with Creedence Clearwater Revival drummer, Doug “Cosmo” Clifford. They go through his life in music, first with the giants CCR, which between 1966-1973 were one of the most massively successful rock acts to ever hit the charts. Then they talk about the dissolution, the days in Tahoe as environmental activist, losing Tom Fogerty to AIDS, the Rock N Roll Hall of Fame debacle, reforming with CCR bassist Stu Cook that toured as Creedence Clearwater Revisited until retiring last year and most importantly, his new album Magic Window, that was mostly recorded in 1985, but now out for release! Doug Clifford achieved fame as the drummer of Creedence Clearwater Revival, a band he put together with his friends Stu Cook, John Fogerty and Tom Fogerty. They were in junior high school when they started playing and achieved worldwide success after signing with Fantasy Records in 1967. Although best known as a drummer, Clifford sang harmony vocals and contributed songs to the Creedence catalogue. He’s been singing, writing songs and making music for as long as he can remember. After a lifetime on the road – ten years with Creedence Clearwater Revival and its predecessors and 25 years with Creedence Clearwater Revisited – the band he put together with bassist Stu Cook to perform live tunes from the Creedence catalogue – he’s ready to again make his mark as a singer and songwriter. He’ll be releasing Magic Window, a solo album recorded in 1985 and updated in 2020 on April 24, 2020, on CD Baby and all on streaming platforms. Clifford wrote the Magic Window songs at his piano at his Lake Tahoe, Nevada home. During downtime, he’d gaze out at the lake and mountains and write, sometimes alone, and sometimes with collaborators. “I had an analog studio with a good tape deck, so I could try out ideas without looking at the clock. I’d invite friends in to jam and experiment. I made Magic Window with Russell DaShiell on lead guitar. Russell’s also an engineer and co-produced the sessions with me. I was going to use it to look for a record deal, but I got busy with other projects and touring. I just forgot about it.” Some of those projects included producing albums for Doug Sahm of the Sir Douglas Quintet and Texas Tornados, playing in Steve Miller’s band and then joining Stu Cook to play Creedence hits with Creedence Clearwater Revisited. They have performed worldwide for 25 years, amassing many fans and crossing multiple generations to bring the wonderful CCR hits to people. They released an RIAA certified platinum live album. Last year, while cleaning out his garage, Clifford found the Magic Window masters. “I’d forgotten about the tapes, but they were in great shape. We were able to transfer the recordings to digital and warm things up a bit. I discovered more than 100 songs.” “Music’s always been a medicine and a meditation for me. It doesn’t matter if I’m down or up. It works both ways. We’ve seen some trying times in the last few years, and we can all use some love and magic. I put my heart and soul into the positive messages on this album. This is a good time to share them with the world.” https://dougcosmoclifford.com/ https://concord.com/concord-albums/doug-cosmo-clifford/ https://open.spotify.com/album/7KOK93bVycTNCpQW4GOrNd
Christian gets to spend time behind the kit with Creedence Clearwater Revival drummer, Doug “Cosmo” Clifford. They go through his life in music, first with the giants CCR, which between 1966-1973 were one of the most massively successful rock acts to ever hit the charts. Then they talk about the dissolution, the days in Tahoe as environmental activist, losing Tom Fogerty to AIDS, the Rock N Roll Hall of Fame debacle, reforming with CCR bassist Stu Cook that toured as Creedence Clearwater Revisited until retiring last year and most importantly, his new album Magic Window, that was mostly recorded in 1985, but now out for release!Doug Clifford achieved fame as the drummer of Creedence Clearwater Revival, a band he put together with his friends Stu Cook, John Fogerty and Tom Fogerty. They were in junior high school when they started playing and achieved worldwide success after signing with Fantasy Records in 1967. Although best known as a drummer, Clifford sang harmony vocals and contributed songs to the Creedence catalogue. He's been singing, writing songs and making music for as long as he can remember. After a lifetime on the road – ten years with Creedence Clearwater Revival and its predecessors and 25 years with Creedence Clearwater Revisited – the band he put together with bassist Stu Cook to perform live tunes from the Creedence catalogue – he's ready to again make his mark as a singer and songwriter. He'll be releasing Magic Window, a solo album recorded in 1985 and updated in 2020 on April 24, 2020, on CD Baby and all on streaming platforms.Clifford wrote the Magic Window songs at his piano at his Lake Tahoe, Nevada home. During downtime, he'd gaze out at the lake and mountains and write, sometimes alone, and sometimes with collaborators. “I had an analog studio with a good tape deck, so I could try out ideas without looking at the clock. I'd invite friends in to jam and experiment. I made Magic Window with Russell DaShiell on lead guitar. Russell's also an engineer and co-produced the sessions with me. I was going to use it to look for a record deal, but I got busy with other projects and touring. I just forgot about it.” Some of those projects included producing albums for Doug Sahm of the Sir Douglas Quintet and Texas Tornados, playing in Steve Miller's band and then joining Stu Cook to play Creedence hits with Creedence Clearwater Revisited. They have performed worldwide for 25 years, amassing many fans and crossing multiple generations to bring the wonderful CCR hits to people. They released an RIAA certified platinum live album. Last year, while cleaning out his garage, Clifford found the Magic Window masters.“I'd forgotten about the tapes, but they were in great shape. We were able to transfer the recordings to digital and warm things up a bit. I discovered more than 100 songs.” “Music's always been a medicine and a meditation for me. It doesn't matter if I'm down or up. It works both ways. We've seen some trying times in the last few years, and we can all use some love and magic. I put my heart and soul into the positive messages on this album. This is a good time to share them with the world.” https://dougcosmoclifford.com/https://concord.com/concord-albums/doug-cosmo-clifford/https://open.spotify.com/album/7KOK93bVycTNCpQW4GOrNd
Christian gets to spend time behind the kit with Creedence Clearwater Revival drummer, Doug “Cosmo” Clifford. They go through his life in music, first with the giants CCR, which between 1966-1973 were one of the most massively successful rock acts to ever hit the charts. Then they talk about the dissolution, the days in Tahoe as environmental activist, losing Tom Fogerty to AIDS, the Rock N Roll Hall of Fame debacle, reforming with CCR bassist Stu Cook that toured as Creedence Clearwater Revisited until retiring last year and most importantly, his new album Magic Window, that was mostly recorded in 1985, but now out for release! Doug Clifford achieved fame as the drummer of Creedence Clearwater Revival, a band he put together with his friends Stu Cook, John Fogerty and Tom Fogerty. They were in junior high school when they started playing and achieved worldwide success after signing with Fantasy Records in 1967. Although best known as a drummer, Clifford sang harmony vocals and contributed songs to the Creedence catalogue. He’s been singing, writing songs and making music for as long as he can remember. After a lifetime on the road – ten years with Creedence Clearwater Revival and its predecessors and 25 years with Creedence Clearwater Revisited – the band he put together with bassist Stu Cook to perform live tunes from the Creedence catalogue – he’s ready to again make his mark as a singer and songwriter. He’ll be releasing Magic Window, a solo album recorded in 1985 and updated in 2020 on April 24, 2020, on CD Baby and all on streaming platforms. Clifford wrote the Magic Window songs at his piano at his Lake Tahoe, Nevada home. During downtime, he’d gaze out at the lake and mountains and write, sometimes alone, and sometimes with collaborators. “I had an analog studio with a good tape deck, so I could try out ideas without looking at the clock. I’d invite friends in to jam and experiment. I made Magic Window with Russell DaShiell on lead guitar. Russell’s also an engineer and co-produced the sessions with me. I was going to use it to look for a record deal, but I got busy with other projects and touring. I just forgot about it.” Some of those projects included producing albums for Doug Sahm of the Sir Douglas Quintet and Texas Tornados, playing in Steve Miller’s band and then joining Stu Cook to play Creedence hits with Creedence Clearwater Revisited. They have performed worldwide for 25 years, amassing many fans and crossing multiple generations to bring the wonderful CCR hits to people. They released an RIAA certified platinum live album. Last year, while cleaning out his garage, Clifford found the Magic Window masters. “I’d forgotten about the tapes, but they were in great shape. We were able to transfer the recordings to digital and warm things up a bit. I discovered more than 100 songs.” “Music’s always been a medicine and a meditation for me. It doesn’t matter if I’m down or up. It works both ways. We’ve seen some trying times in the last few years, and we can all use some love and magic. I put my heart and soul into the positive messages on this album. This is a good time to share them with the world.” https://dougcosmoclifford.com/ https://concord.com/concord-albums/doug-cosmo-clifford/ https://open.spotify.com/album/7KOK93bVycTNCpQW4GOrNd
STANDARD SEMANAL.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS).-BAUL DEL JAZZ, con Cliffort Brown..-JAZZ RECUERDO ANIVERSARIO.- John La Porta - Conceptions(1956).-JAZZ ACTUALIDAD .- IVAN SANJUAN CUARTETO-FRIENDSHIP PROG.Nº 657.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS) Hoy tendremos también como todos los fines de mes, el tema que nos ofrece Ezequiel del BAUL DEL JAZZ, con Cliffort Brown. JAZZ RECUERDO ANIVERSARIO.- John La Porta - Conceptions(1956) John La Porta* ?– Conceptions Sello: Fantasy ?– 3-228 Formato: Vinyl, LP, Mono, Red Vinyl País: US Publicado: 1956 Género: Jazz Estilo: Lista de Títulos A1 Concertina For Clarinet 3:44 A2 Nightly Vigil 1:20 A3 Perdido 7:35 A4 Triplets, You Say? 0:55 A5 Small Blue Opus 5:14 A6 Little Fantasy 0:48 B1 Absentee 4:57 B2 Washday 0:44 B3 En Rapport 5:17 B4 Lou's Tune 1:25 B5 Ferme La Porta 4:54 Créditos • Baritone Saxophone – Sol Schlinger • Bass – Wendell Marshall • Clarinet, Alto Saxophone – John La Porta* • Drums – Clem De Rosa • Piano – Wally Cirillo • Trombone – Sonny Russo • Trumpet – Lou Mucci* Notas Original red vinyl mono press. Artist on covers: John La Porta Septet, Quartet And Duo Nacido en Filadelfia, LaPorta comenzó a tocar el clarinete a la edad de nueve años y estudió en la escuela Mastbaum en Filadelfia, donde uno de sus compañeros de clase era Buddy DeFranco . Cuando era adolescente, tocó en bandas de Filadelfia con Charlie Ventura y Bill Harris . Estudió de manera clásica con Joseph Gigliotti de la Orquesta de Filadelfia y Leon Russianoff en la Manhattan School of Music . De 1942 a 1944 fue miembro de la gran banda de Bob Chester , [1] luego pasó los siguientes dos años con la Orquesta Woody Herman . [2] A partir de 1947 estudió con Lennie Tristano . Con Teo Macero y Charles Mingus fue miembro del Taller de Compositores de Jazz , tratando de combinar el jazz con la música clásica. [1] En el mundo clásico, trabajó con Boston Pops , Leonard Bernstein , Leopold Stokowski e Igor Stravinsky . En jazz trabajó con Kenny Clarke ,Miles Davis , Dizzy Gillespie , Charlie Parker , Buddy Rich y Lester Young . [2] El 12 de agosto de 1956, La Porta fue invitada al primer concierto de jazz en Venezuela en el Teatro Nacional de Caracas, respaldado por la Orquesta de Casablanca, Charlie Nagy , Werner Boehm , Walter Albrecht , entre otros. Durante su estancia en Caracas, una selección del repertorio interpretado en el concierto fue lanzado bajo el título South American Brothers por Fantasy Records , [1] la primera grabación de jazz en Venezuela. Enseñó en la Parkway Music School, luego en las escuelas públicas de Long Island , seguido por la Manhattan School of Music y el Berklee College of Music . Con el guitarrista Jack Petersen , fue pionero en el uso de modos griegos para enseñar escalas de acordes. En la década de 1990, él y su esposa se retiraron a Sarasaota, Florida, donde actuó en el Sarasota Jazz Club y como invitado con el trío Fred Williams. Él escribió su autobiografía, Playing It by Ear . LaPorta murió por complicaciones de un derrame cerebral el 12 de mayo de 2004 en Sarasota. JAZZ ACTUALIDAD .- Esta semana tendremos a IVAN SANJUAN CUARTETO-FRIENDSHIP, con la entrevista cedida por el BAUL DE MIS RECUERDOS (DEL AMIGO EZEQUIEL). Desde 2017 Iván Sanjuán lidera su propio proyecto junto a los músicos extremeños Joaquín de la Montaña (saxo), Enrique Tejado (contrabajo) y Pedro Calero (piano). Con esta formación presentó su trabajo de final de máster en batería jazz en la Universidad de Évora (Portugal) y a partir de ese momento se conformó como grupo estable con el que ha realizado conciertos en lugares como el Festival de Jazz de Badajoz, el Hot Clube de Lisboa, la programación Jazz and Clubs de la asociación sevillana de jazz "Asejazz", el festival itinerante de jazz "DiJazz" o el Festival de Jazz de Navalmoral de la Mata "Navaljazz" entre otros lugares. PROG.Nº 657.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS) Hoy tendremos también como todos los fines de mes, el tema que nos ofrece Ezequiel del BAUL DEL JAZZ, con Cliffort Brown. JAZZ RECUERDO ANIVERSARIO.- John La Porta - Conceptions(1956) John La Porta* ?– Conceptions Sello: Fantasy ?– 3-228 Formato: Vinyl, LP, Mono, Red Vinyl País: US Publicado: 1956 Género: Jazz Estilo: Lista de Títulos A1 Concertina For Clarinet 3:44 A2 Nightly Vigil 1:20 A3 Perdido 7:35 A4 Triplets, You Say? 0:55 A5 Small Blue Opus 5:14 A6 Little Fantasy 0:48 B1 Absentee 4:57 B2 Washday 0:44 B3 En Rapport 5:17 B4 Lou's Tune 1:25 B5 Ferme La Porta 4:54 Créditos • Baritone Saxophone – Sol Schlinger • Bass – Wendell Marshall • Clarinet, Alto Saxophone – John La Porta* • Drums – Clem De Rosa • Piano – Wally Cirillo • Trombone – Sonny Russo • Trumpet – Lou Mucci* Notas Original red vinyl mono press. Artist on covers: John La Porta Septet, Quartet And Duo Nacido en Filadelfia, LaPorta comenzó a tocar el clarinete a la edad de nueve años y estudió en la escuela Mastbaum en Filadelfia, donde uno de sus compañeros de clase era Buddy DeFranco . Cuando era adolescente, tocó en bandas de Filadelfia con Charlie Ventura y Bill Harris . Estudió de manera clásica con Joseph Gigliotti de la Orquesta de Filadelfia y Leon Russianoff en la Manhattan School of Music . De 1942 a 1944 fue miembro de la gran banda de Bob Chester , [1] luego pasó los siguientes dos años con la Orquesta Woody Herman . [2] A partir de 1947 estudió con Lennie Tristano . Con Teo Macero y Charles Mingus fue miembro del Taller de Compositores de Jazz , tratando de combinar el jazz con la música clásica. [1] En el mundo clásico, trabajó con Boston Pops , Leonard Bernstein , Leopold Stokowski e Igor Stravinsky . En jazz trabajó con Kenny Clarke ,Miles Davis , Dizzy Gillespie , Charlie Parker , Buddy Rich y Lester Young . [2] El 12 de agosto de 1956, La Porta fue invitada al primer concierto de jazz en Venezuela en el Teatro Nacional de Caracas, respaldado por la Orquesta de Casablanca, Charlie Nagy , Werner Boehm , Walter Albrecht , entre otros. Durante su estancia en Caracas, una selección del repertorio interpretado en el concierto fue lanzado bajo el título South American Brothers por Fantasy Records , [1] la primera grabación de jazz en Venezuela. Enseñó en la Parkway Music School, luego en las escuelas públicas de Long Island , seguido por la Manhattan School of Music y el Berklee College of Music . Con el guitarrista Jack Petersen , fue pionero en el uso de modos griegos para enseñar escalas de acordes. En la década de 1990, él y su esposa se retiraron a Sarasaota, Florida, donde actuó en el Sarasota Jazz Club y como invitado con el trío Fred Williams. Él escribió su autobiografía, Playing It by Ear . LaPorta murió por complicaciones de un derrame cerebral el 12 de mayo de 2004 en Sarasota. JAZZ ACTUALIDAD .- Esta semana tendremos a IVAN SANJUAN CUARTETO-FRIENDSHIP, con la entrevista cedida por el BAUL DE MIS RECUERDOS (DEL AMIGO EZEQUIEL). Desde 2017 Iván Sanjuán lidera su propio proyecto junto a los músicos extremeños Joaquín de la Montaña (saxo), Enrique Tejado (contrabajo) y Pedro Calero (piano). Con esta formación presentó su trabajo de final de máster en batería jazz en la Universidad de Évora (Portugal) y a partir de ese momento se conformó como grupo estable con el que ha realizado conciertos en lugares como el Festival de Jazz de Badajoz, el Hot Clube de Lisboa, la programación Jazz and Clubs de la asociación sevillana de jazz "Asejazz", el festival itinerante de jazz "DiJazz" o el Festival de Jazz de Navalmoral de la Mata "Navaljazz" entre otros lugares.
John Fogerty had already picked up some popularity with his band The Golliwogs, but Uncle Sam came a-calling in 1966. In order to avoid being sent to Vietnam, he instead enlisted in the Army Reserves, where he served for a while until he was discharged honorably. In the days that followed the discharge, he wrote a song that he knew immediately would be a hit on the level of the bigger songs of the Tin Pan Alley days. And, given that other artists recorded the same song within a few months of its release, he was correct in that regard. The new owners of their label, Fantasy Records talked the band into changing their name to something a little less offensive in exchange for the opportunity to record a full-length album (rather than the singles they'd been making), and the band, not being fools, agreed immediately. The original name had come from Fantasy's previous owner, so they weren't really married to it anyway. Thus it was that The Golliwogs became Creedence Clearwater Revival, and Bayou Country their first album. Click here for a transcript of this show.
En esta primera entrega que recoge un trabajo dedicado y fascinante de investigación sobre la prolífica carrera del vibrafonista Cal Tjader nos concentramos en algunos de sus mejores trabajos en el sello Fantasy Records, como: 10.- (1953) Vibra-Tharpe09.- (1958) Tropicville08.- (1960) Cal's Pals07.- (1959) Cubano Chant06.- (1955) Mamblues05.- (1960) SS Groove04.- (1971) Morning03.- (1974) My Cherie Amour02.- (1955) Guarachi Guaro01.- (1962) Afro BlueExpresión Latina#PasiónPorLaMúsicaSi te gustó el post, SUSCRÌBETE, DALE LIKE y COMPARTELO.Toda la música relacionada con esta publicación es propiedad exclusiva de sus respectivos autores y/o productores.Encuéntranos En Blogger: http://ferarca.blogspot.comEn Box.Net: https://app.box.com/v/ferarcaEn SoundCloud: https://soundcloud.com/ferarcaEn Hearthis: https://hearthis.at/ferarca/#tracksEn Hearthis: https://hearthis.at/djferarca/#tracksEn Hearthis: https://hearthis.at/dj-ferarca-jazz/#tracksEn Youtube: https://goo.gl/BwLk7bEn Vimeo: https://vimeo.com/user6438403En MixCloud: https://www.mixcloud.com/ferarca/En Spreaker: https://www.spreaker.com/user/ferarcaEn Spotify:https://goo.gl/vcKyWwEn TuneIn Radio: http://tun.in/pjf1KCompartimos música, compartimos felicidad!Expresión LatinaLima, Perú2019 @DJferarca- Fernando Cataño Florián -
Dans ce premier épisode de notre podcast, nous allons nous intéresser à un style musical apparu à la même époque que les Trans Musicales, dont le nom est l’un des plus utilisés aujourd’hui mais qui est pourtant méconnu : en un mot, l’electro. De sa genèse dans les années 1950 jusqu'à aujourd'hui, c'est donc l'occasion d'évoquer la naissance de ce style musical ainsi que son héritage actuel, notamment au travers de quelques producteurs et DJs programmés aux Trans Musicales 2019 PLAYLIST Kid Baltan & Tom Dissevelt – Vibration (extrait de The Fascinating World Of Electronic Music, Philips, 1959) Kraftwerk – Trans Europe Express (extrait de Trans Europe Express, Kling Klang/EMI Electrola, 1977) Ryuichi Sakamoto – Riot In Lagos (extrait de B-2 Unit, Alfa, 1980) Kraftwerk – Numbers (extrait de Computer World, Kling Klang/EMI Electrola, 1981) Afrika Bambaataa & The Soulsonic Force – Planet Rock (Tommy Boy, 1982) Mantronix – Needle To The Groove (extrait de The Album, Sleeping Bag Records, 1985) Cybotron – Clear (extrait de Enter, Fantasy Records, 1983) Djedjotronic – H+ (extrait de R.U.R., Boysnoize Records, 2018) DC Salas – Daily Allowance (extrait de Indecisive, autoproduction, 2019) OCB – Inigo’s Kick (extrait de The Anticlimax, Casa Voyager, 2018) Acid Arab (avec Amel Wahby) – Nassibi (extrait de Jdid, Crammed Discs, 2019)
Dans ce premier épisode de notre podcast, nous allons nous intéresser à un style musical apparu à la même époque que les Trans Musicales, dont le nom est l’un des plus utilisés aujourd’hui mais qui est pourtant méconnu : en un mot, l’electro. De sa genèse dans les années 1950 jusqu'à aujourd'hui, c'est donc l'occasion d'évoquer la naissance de ce style musical ainsi que son héritage actuel, notamment au travers de quelques producteurs et DJs programmés aux Trans Musicales 2019 PLAYLIST Kid Baltan & Tom Dissevelt – Vibration (extrait de The Fascinating World Of Electronic Music, Philips, 1959) Kraftwerk – Trans Europe Express (extrait de Trans Europe Express, Kling Klang/EMI Electrola, 1977) Ryuichi Sakamoto – Riot In Lagos (extrait de B-2 Unit, Alfa, 1980) Kraftwerk – Numbers (extrait de Computer World, Kling Klang/EMI Electrola, 1981) Afrika Bambaataa & The Soulsonic Force – Planet Rock (Tommy Boy, 1982) Mantronix – Needle To The Groove (extrait de The Album, Sleeping Bag Records, 1985) Cybotron – Clear (extrait de Enter, Fantasy Records, 1983) Djedjotronic – H+ (extrait de R.U.R., Boysnoize Records, 2018) DC Salas – Daily Allowance (extrait de Indecisive, autoproduction, 2019) OCB – Inigo’s Kick (extrait de The Anticlimax, Casa Voyager, 2018) Acid Arab (avec Amel Wahby) – Nassibi (extrait de Jdid, Crammed Discs, 2019)
Dans ce premier épisode de notre podcast, nous allons nous intéresser à un style musical apparu à la même époque que les Trans Musicales, dont le nom est l’un des plus utilisés aujourd’hui mais qui est pourtant méconnu : en un mot, l’electro. De sa genèse dans les années 1950 jusqu'à aujourd'hui, c'est donc l'occasion d'évoquer la naissance de ce style musical ainsi que son héritage actuel, notamment au travers de quelques producteurs et DJs programmés aux Trans Musicales 2019 PLAYLIST Kid Baltan & Tom Dissevelt – Vibration (extrait de The Fascinating World Of Electronic Music, Philips, 1959) Kraftwerk – Trans Europe Express (extrait de Trans Europe Express, Kling Klang/EMI Electrola, 1977) Ryuichi Sakamoto – Riot In Lagos (extrait de B-2 Unit, Alfa, 1980) Kraftwerk – Numbers (extrait de Computer World, Kling Klang/EMI Electrola, 1981) Afrika Bambaataa & The Soulsonic Force – Planet Rock (Tommy Boy, 1982) Mantronix – Needle To The Groove (extrait de The Album, Sleeping Bag Records, 1985) Cybotron – Clear (extrait de Enter, Fantasy Records, 1983) Djedjotronic – H+ (extrait de R.U.R., Boysnoize Records, 2018) DC Salas – Daily Allowance (extrait de Indecisive, autoproduction, 2019) OCB – Inigo’s Kick (extrait de The Anticlimax, Casa Voyager, 2018) Acid Arab (avec Amel Wahby) – Nassibi (extrait de Jdid, Crammed Discs, 2019)
Show #806 Old & New & All Blue Spinner put an episode together with old and new music. But ofcourse it is all blue of some sort. Enjoy. 01. Blues Meets Girl - Shifting Gears (3:32) (Blues Meets Girl, self-release, 2019) 02. Polly O'Keary & the Rhythm Method - Sugar Daddy (5:55) (As Live As It Gets, self-release, 2019) 03. Dudley Taft - If Heartaches Were Nickels (6:24) (Simple Life, American Blues Artist Group, 2019) 04. Mike Henderson & the Bluebloods - Angel Of Mercy (5:21) (Thicker Than Water, Dead Reckoning, 1998) 05. Alice Howe - Lovin' In My Baby's Eyes (4:50) (Visions, self-release, 2019) 06. Livin' Blues - Boogie Woogie Woman (3:17) (45 RPM Single, Ariola Records, 1974) 07. King Mo - 200 Miles (7:23) (King Of The Town, CRS, 2011) 08. Altered Five Blues Band - Great Minds Drink Alike (3:59) (Ten Thousand Watts, Blind Pig Records, 2019) 09. Tony Campanella - Texas Chainsaw (6:50) (Taking It To The Street, Gulf Coast Records, 2019) 10. Shaun Murphy - Thang For You (4:05) (Reason To Try, Vision Wall Records, 2019) 11. Lonnie Johnson - She's Drunk Again (3:21) (Blues By Lonnie Johnson, Prestige Bluesville, 1984) 12. Paula Lockheart - Black Mountain Blues (3:48) (It Ain't The End Of The World, Flying Fish Records, 1979) 13. Ray Charles - I've Got News For You (4:25) (Genius + Soul = Jazz, Impulse Records, 1961) 14. Professor Louie & the Crowmatix - Exit Zero (3:04) (Miles Of Blues, Woodstock Records, 2019) 15. Sayed Sabrina - Everybody Knows (3:18) (Thou Art That, self-release, 2019) 16. Moreland & Arbuckle - Diamond Ring (6:07) (1861, Northern Blues, 2008) 17. Zac Harmon - Mississippi BarBQ (5:05) (Mississippi BarBQ, Catfood Records, 2019) 18. The Nick Moss Band - Simple Minded (5:06) (Lucky Guy!, Alligator Records, 2019) 19. Arthur Adams - Chicago Sidewalk (3:19) (Home Brew, Fantasy Records, 1975) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
After a break for Independence Day, Talking with Rabbi Ted is back with a brand new episode presented by special guest host Jim Stern, longtime recording engineer and member of B'nai Israel Jewish Center. Guest Host, Stern, a recording artist, producer, and a major force behind Berkeley-based Fantasy Records, spends the hour talking harmony—and not just music. In the first segment, hear from two men who took a chance on restoring Petaluma’s landmark theatre, which has gone from burlesque house to concert hall. Manager Tom Gaffey and Concert Booker Jim Agius talk about why they are dedicated to preserving the Phoenix Theatre, and how they are using this setting as a resource to promote and encourage creativity, skill and confidence among Petaluma’s youth. In the second half hour, meet John Crowley, who discovered Petaluma by chance. As luck would have it, he found his niche in our quaint city, becoming co-owner of Aqus Café. He and his business partner nourish the soul through food, live music and dialogue.
After the breath-taking wait of 4 years, world cup fantasy cricket is at full swing. All the nations are fighting hard for the ultimate glory in the cricket world. England and Wales are hosting the 12th edition of the tournament for the first time since 1999. This time the teams are playing the matches over a span of 46 days. The final of the world cup fantasy game will be played at the “Home of Cricket” Lords Cricket Ground in London. The previous editions of mega-event featured many record-breaking performances from some of the best in the world. Let us look at the 7 best CWC fantasy records which created history for the fans of cricket and also for fans of 11Wickets.com, India’s most trusted fantasy sports platform. Most consecutive centuries The Sri Lankan legend and former skipper of the team, Kumar Sangakkara created history on March 11, 2015. He became the first batsman to score 4 centuries in a world cup. In fact, this was the first time ever when a player hit four centuries consecutively in ODI history. The left-handed batsman scored the four centuries against Bangladesh (105*), England (117*), Australia (104*) and Scotland (124). Fastest century The Irish right-handed all-rounder, Kevin O’Brien holds the World Cup record for hitting the fastest century. He pulled this off in 50 balls playing against England on 2 March 2011. With the help of Kevin’s innings, Ireland managed to chase 328 runs with 5 balls left. Fastest 150 runs The former South African skipper, AB de Villiers, and the right-handed batsman hold the record of fastest 150 in the world cup against West Indies. They defeated West Indies by 257* runs. Highest individual run scored The opening batsman of New Zealand, Martin Guptill broke Chris Gayle record on 21 March 2015. Guptill scored 237 runs and surpassed Gayle’s record of 215 runs. He registered this score against West Indies in Wellington. Fastest ball bowled “Rawalpindi Express” or Shoaib Akhtar had been known for his terrific pace in bowling. This right-arm pacer bowled fastest delivery ever bowled crossing the 100 miles mark on 22 February 2003 against England at Newlands. The last ball of his second over of the match was recorded at 161.3km/h or 100.2mph. Youngest captain to win the world cup KapilDev of India is the legendary all-rounder. He has the record of being the youngest skipper to lead a team to win the world cup trophy. Under his leadership, Indian cricket team won their first-ever world cup cricket 2019 game. Longest streak without defeat Team Australia has dominated the ODIs and performed outstandingly during the World Cups. Australia holds the record streak of 34 consecutive matches without defeat. The streak started in the 1999 World Cup against Scotland and ended in the 2011 World Cup against Pakistan. In the 34 matches, Australia had 32 wins, 1 tie and 1 no result game. IT was the period when the Australian team was completely invincible. *Records have been compiled as on June 10, 2019 Thanks for reading! Play cricket world cup 2019 and enjoy!
You know those moments when something you’ve been feeling or saying gets validated by some other credible source? Well that was the story of my day at Gary Vaynerchuck’s Agent2021 conference. The topic? You guessed it… BRAND.There is no shortcut. There is no hack. Those who put in the work will disproportionately win in the next 2-4 years of the internet. Whether you are an Auto Dealer, influencer, non-profit or otherwise, your understanding and commitment to being strategic about deploying brand WILL be the difference maker.Focusing on the bottom of the funnel activity will leave you in a constant crap-shoot for trying to win customers. Maybe you will interrupt them at just the right time…or maybe your competitor will. That is why those who pay real attention to contextually connecting with potential customers BEFORE they are ready to buy is where the intelligent investment is made.The truth is that most business owners and managers don’t have the vision, patience or discipline to do this. The same people who complain about millennial employees having and “instant gratification” mindset, do the SAME EXACT THING in their marketing.I’ve decided to stop trying to convince the inconvincible.I’ve decided to speak to and work with those who believe this concept is the truth…even if they don’t know how to execute yet.This is what the CLARITY community is about.. . .Brand-First Dealership Case StudyHere is my current itinerary:Jan 24-27: NADA, SanFrancisco CA > Workshop: A Crash Course In Dealership Branding. . .Take My Fire copyright Switchfoot and FanTasy Records. . .DID YOU KNOW that the Dealers Compressed Podcast started as a creative visual production around the book “Like I See It”. We created it independently to give auto dealers an accessible way to engage the book and hopefully spread the timely message to their staff and others in the industry. We hope that YOU will use it in your dealership!It’s engaging.It’s FREE.Its right HERE!. . .pauljdaly.comConnect with Paul J Daly on LinkedInFollow along on InstagramFollow Paul J Daly on TwitterLike Paul J Daly on Facebook
In this episode we're featuring Kaia Kater and a nod to the Brothers Adderley. First up, the new roots and blues of Kaia Kater. She's Canadian born, yet embodies all the musical treasures the Americas have to offer. From bluegrass, folk, and jazz, to MC's like Rakim and Kendrick Lamar, it all comes together in this burgeoning artist's style of songwriting. Along with Ms. Kater, music columnist Bao Le-Huu (This Little Underground/The Orlando Weekly) joins in the conversation. Speaking of taking in all the sounds of America (and the world at large in this case), we pay tribute to the brothers Adderley: Cannonball and Nat. With a body of work that left no stone unturned, these two did it all with a sense of musical adventure and accessibility with a bit of show-biz gleen. All types of great music passed through the brothers' horns, ranging in themes to folklore, Broadway, afrobeat, astrology, religion, and psychedelia. Along the way the left a trail of bonafide classics - Work Song, Mercy, Mercy, Mercy, and Sack O' Woe - not to mention a who's who of talents they helped to foster, from Joe Zawinul, Charles Lloyd, George Duke, Yusef Lateef, and more. SONG CREDITS FOR THIS EPISODE: THEME: Jazz Phantom by Chomsk' (from the album "Different Beats" on Magnetic Records). FIRST HALF: St. Elizabeth and Nine Pin by Kaia Kater (from the album "Nine Pin" on Mavens Music). Live recording from Orlando Philharmonic Performance with Eric Jacobson Little Pink and Harlem's Little Black Bird by Kaia Kater (from the album "Nine Pin" on Mavens music). SECOND HALF: Poundin' by Cannonball and Nat Adderley (from the album "Big Man" on Fantasy Records). Work Song by Cannonball and Nat Adderley (from the album "Live Session" on Capitol Records). Never Will I Marry by Cannonball and Nat Adderley with Nancy Wilson (from the album "Live Session" on Capitol Records). I'd Rather Be Drinking Muddy Water by Cannonball and Nat Adderley with Lou Rawls (from the album "Live Session" on Capitol Records). So What by Miles Davis (from the album "Kind of Blue" on Columbia Records). Mercy, Mercy, Mercy by Cannonball and Nat Adderley (from the album "Mercy Mercy Mercy" on Capitol Records). Tensity by Cannonball and Nat Adderley (from the album "Quintent and Orchestra" on Capitol Records). Fiddler on the Roof, Boy With the Sad Eyes, and Walk Tall by Cannonball and Nat Adderley (from the album "Fidderelty on the Roof" on Capitol Records). ABOUT THE MAJOR SCALE: Your attention please to a new program that celebrates and takes a fresh and bold look at the great American art form- JAZZ!!! The Major Scale is the title, the motto and the mission are, Jazz- past, present, future, and everything in between. A lot of focus will be on new and fresh sounds, deep cuts, closer looks at underrated artists, taking a different look at some of the titans of the genre, and getting the two cents worth from a number of surprise guests and sources. The Major Scale can boast amongst it's guests- legends like Herbie Hancock, Tom Scott, and Ahmad Jamal. The up and coming and the underrated-Kamasi Washington, Mia Doi Todd, Michael Blake. Fresh perspectives and commentary from the likes of Rock legend Al Kooper, who weighed in on the gospel. From The New Yorker, Amanda Petrusich expounds on her article about the movement to rename the Williamsburg Bridge in honor of Sonny Rollins. We explore the Soul-Jazz experiments of the Rascals. Grace Kelly from The Late Show with Stephen Colbert talks about her pop-up/flash mob concerts. Plus Thundercat, Henry Mancini, Ghostface Killah, Jaimie Branch, Nels Cline, Badbadnotgood, Cecil Taylor, and more get pick up on the Major Scale radar. Produced in Central Florida, this program seeks to become one of the defining voices of this Native American art form, and everything else that finds itself under it's umbrella. Think about programming and content found on the likes of World Cafe, Philadelphia, PA. Tiny Desk from Washington D.C., and KEXP Live from Seattle, WA. and that's what the Major Scale strives to do. For the curious, and lovers of music who like the details in between. ABOUT KYLE EAGLE (Host): Kyle Eagle has been a contributing writer and producer for the NPR-WBGO, WUCF, WPRK, Wax Poetics, The Orlando Weekly, Artbourne, and The Fiscal Times, as well as several music and film releases- Light in the Attic's documentary "This Is Gary McFarland", and an upcoming film on composer Jack Nietzsche. Recordings- Call Me-Jack Wilson, Live at the Penthouse, Grachan Moncur III, Chico Hamilton, and Andy Bey. ABOUT CHRIS BARANYI (Producer): Chris Baranyi is a sound engineer and music producer. He splits his time between designing AV systems for theme parks and recording music. Chris has worked with many Orlando area musicians with backgrounds in jazz, fusion, hip-hop, funk, new age, and classical. Some of which have been featured on NPR's Echoes. His passion includes jazz, vintage microphones, and hot sauces.
Leonard Charles Williams (born February 16, 1945)[1] is an American singer-songwriter and musician, best known for his work during the 1970s. Williams was the lead vocalist for R&B/Soul group Tower of Power. As a soloist, Williams made several hit recordings, including 1978's "Cause I Love You" and 1977's "Choosing You". Williams was born in Little Rock, Arkansas, and moved to Oakland, California, at a young age.[2] Learning to play the trumpet in elementary school fueled his interest in music; his skills as a vocalist were first nurtured by singing in gospel choirs and groups around the Bay Area. He worked with several notable artists, such as Sly Stone, Andraé Crouch, Billy Preston and members of the Hawkins family, Edwin, Walter and Tramaine. After winning several local talent contests, Williams signed his first recording contract with Fantasy Records. He cut two singles for the label, including "Lisa's Gone" and "Feelin Blue", written by John Fogerty of Creedence Clearwater Revival. In 1972, Williams joined the emerging funk band Tower of Power. A string of hits followed, including "So Very Hard to Go", "What Is Hip", "Don't Change Horses (In The Middle of the Stream)" and "Willing To Learn". During his two years with the group, Williams participated in three albums: Back To Oakland, Urban Renewal and the gold LP Tower of Power. Williams and Tower of Power toured throughout the United States, Europe and Asia. While still with Tower of Power, he recorded his first solo album Pray for the Lion for Warner Bros. Records in 1974. At the end of 1975, Williams left the band and returned to his solo projects. Initially signing with Motown Records in 1975, he later moved to ABC Records in 1977 (which was then purchased by MCA Records in 1979). With producer Frank Wilson at the helm and songwriters such as Judy Wieder, Clay Drayton, Terry McFadden, and John Footman, over the next four years, he scored ten chart hits, including "Shoo Doo FuFu Ooh", "Choosing You", "You Got Me Running", "Love Hurt Me Love Healed Me", "Here's to the Lady," and "Midnight Girl". Williams recorded four more albums from 1977 to 1980: Choosing You, his first gold LP; Spark of Love (contains the hits "You Got Me Running", and "Cause I Love You" as well as "Midnight Girl"); Love Current; "Taking Chances" and Let's Do It Today.After leaving MCA, Williams recorded for the independent record labels, Rockshire and Knobhill. In 1986, he was invited to sing vocals on "Don't Make Me Wait For Love", a track from Duotones, a multi-platinum recording by Kenny G. The song became a Top 20 Billboard Hot 100 and R&B hit the following year.His 1978 hit song "Cause I Love You" was sampled by Havoc of Mobb Deep for the track "Nothing Like Home", and by Kanye West for the songs "Overnight Celebrity" by Twista and "I Got A Love" by Jin. The track was sampled a fourth time in 2007 by Scarface for his single "Girl You Know" featuring Trey Songz & Young Jeezysampled "Let's Talk It Over" for his single "I Do" featuring Jay-Z and Andre 3000. His song "Half Past Love" was also sampled by The Coup for their 2006 single "My Favorite Mutiny" featuring Black Thought of The Roots and Talib Kweli of Black Star.Since that time, Williams has continued his solo career, touring the US, Europe and South Africa, and has also expanded his career to include acting, starring in several stage plays, including Love on Lay Away starring Deborah Cox, Mel Jackson and Martha Wash, What Men Don't Tell starring Kenny Lattimore, Chante Moore, and Dottie Peoples, and When A Woman's Fed Up. He is also one of the featured artists on Urbanland Music's DVD The Big Show, recorded at the Orpheum Theatre in Boston, Massachusetts, on November 29, 2002. Studio albums[edit]1974: Pray for the Lion (Warner Bros. Records)1975: Rise Sleeping Beauty (Motown Records)1977: Choosing You (ABC Records)1978: Spark of Love (ABC Records)1979: Love Current (MCA Records)1980: Let's Do It Today (MCA Records)1981: Taking Chances (MCA Records)1984: Changing (Rocshire Records)1986: New Episode (Knobhill Records)1989: Layin' In Wait (K-Tel Records)1994: Chill (Marathon Records & Bellmark Records)1996: Here's to the Lady (Universal Special Products)2000: Love Therapy (Volt Records)2004: My Way (Thump Records)2007: It Must Be Love (LenTom Records)2009: Unfinished Business (Lentom Records)2012: Still in the Game (Music Access Inc)Compilation albums[edit]1993: Ooh Child (MCA Special Products)2001: Ultimate Collection (Universal)2002: Ten Ways of Lovin' You (Volt Records)2008: You Won My Heart (Crush Records) See acast.com/privacy for privacy and opt-out information.
This week's two guests: Jim Stern, a recording engineer and producer since 1978, who was one of the major forces in the creation of Berkeley-based Fantasy Records; and John Crowley, co-owner of Aqus, who has successfully turned his quaint Petaluma café into a popular community hub.
This month at the Edmonton Folk Music Festival, American singer-songwriter, poet, humanitarian and filmmaker Michael Franti graced the CKUA stage for music and conversation with Terry David Mulligan. Michael shares his thoughts on the power of optimism to overcome his anxiety and depression, his connection to the City of Edmonton, and finding peace amidst political turmoil in the US. Songs performed include "Enjoy Every Second" and "I'm Alive." Michael Franti & Spearhead's latest album 'Soul Rocker' is available on Fantasy Records.
Yvonne Faddis-Stroud was born in Oakland, California, into a musical family with her brother, jazz trumpeter Jon Faddis. She played piano since three. Yvonee has an incredible ear for music and, when she hears a song, it goes straight to her fingers. Her repertoire contains countless compositions, including jazz, blues, classical, Broadway, R & B, Motown, movie and TV themes, spirituals, and even video games. She majored in visual art, however, Yvonne performed regularly with the college jazz band and composed and performed original music for theatrical productions. She secured her first gigs improvising accompaniment to silent movies and leading her own jazz quartet in the Oakland area. In Northern California, she was a musical director at Oakland Ensemble Theater, played solo piano at country clubs, restaurants, and boutiques, and became the house pianist for Nordstrom’s in Walnut Creek. She collaborated in the studios of Fantasy Records with the chart-topping R&B group the Whispers, among other local groups. Since moving to Chicago, she has performed with Make Music Chicago and played for receptions for Orbert Davis’s Chicago Jazz Philharmonic. She has a television show, Yvonne’s Piano, which airs on Chicago’s WJYS TV 62. She produced 23 half-hour episodes, featuring her arrangements of jazz and popular tunes in solo and trio settings featuring bassist Larry Gray and drummer Joel Spencer. Also joining her were Sylvia De La Cerna, violin; Josh Ramos, bass; and Charles Heath, drums. Yvonnespiano.com www.wijsf.org
(From 1984) When executives at Fantasy Records decided the time was ripe to re-release their entire catalog of early Dave Brubeck recordings, they found a surprise in their vaults. “The first 10 or 12 LPs on Fantasy Records are all me because I started the company,” Brubeck recalled recently. “The young guys that I would talk to hardly knew. They were really amazed when they found the first recordings which started the company (of) my trio, the octet or the quartet.”
The hurricane has passed and the MHOD is back with their review of Prophets of Rage (self-titled)! Prophets of Rage is an American rap rock supergroup. Formed in 2016, the group consists of three members of Rage Against the Machine and Audioslave (bassist and backing vocalist Tim Commerford, guitarist Tom Morello, and drummer Brad Wilk), two members of Public Enemy (DJ Lord and rapper Chuck D), and rapper B-Real of Cypress Hill. Prophets of Rage is the debut studio album by American rap rock supergroup Prophets of Rage. The album was released on September 15, 2017, by Fantasy Records.
Gov't Mule have announced the release of their anticipated 10th studio album Revolution Come… Revolution Go out June 9th on Fantasy Records. Steeped in the roots and mystique of rock, blues, soul, jazz and country, Revolution Come.. Revolution Go enriches Gov't Mule's distinguished legacy with cleverly-crafted songs, intelligent and timely lyrical commentary, and downright incendiary playing, while the depth and breadth of the band's stunning songwriting is displayed with full force. Pre-sales for the new record are now available – including instant downloads of the first two singles “Sarah, Surrender” and “Stone Cold Rage” Warren Haynes sits down with Slacker! #Gov'tMule #WarrenHaynes #SlackerMorningShow101theFox
Renowned songwriter, singer, true believer, Alejandro Escovedo released Burn Something Beautiful on October 28th, 2016 via Fantasy Records. The new album, Escovedo’s first solo endeavor since 2012’s highly acclaimed Big Station, is in actuality, a highly collaborative affair. Teaming with Peter Buck (R.E.M.) and Scott McCaughey (The Minus 5) to co-write the album’s songs, Escovedo also enlisted the pair to act as the project’s producers. At once a celebration of the rock and roll life, a contemplation on mortality, and the healing power of love, Burn Something Beautiful connects repeatedly with Escovedo’s soulful heart and voice at its core. Recorded at Portland’s Type Foundry studio, cwith the help of an esteemed group of musicians .They include guitarist Kurt Bloch (The Fastbacks), drummer John Moen (The Decemberists), vocalists Corin Tucker (Sleater-Kinney) and Kelly Hogan (Neko Case, The Flat Fie) as well as saxophonist Steve Berlin (Los Lobos). In a trailblazing career that began with The Nuns, San Francisco’s famed punk innovators, to the Austin-based-based alt-country rock pioneers, Rank & File, to Texas bred darlings, True Believers, through countless all-star collaborations and tribute album appearances and finally a series of beloved solo albums beginning with 1992’s acclaimed Gravity, Escovedo has earned a surplus of distinctions: No Depression magazine’s Artist of the Decade Award in 1998 and the Americana Music Association’s Lifetime Achievement Award for Performing in 2006, just to name two. “You just do your good work, and people care,” Alejandro says. “I always believed, when I was a kid, that if you worked hard, you would find fulfillment. I think I got a lot of that from my father and my brothers. A working musician is all I ever wanted to be. Hard work, stay true to what you want to do, and then eventually someone would notice for that very reason.”
Recording Artist and song writer Angel Sessions is a well rounded singer/song writer of her own music and style. Angel has been singing for over 17 years. She has released three albums world wide. Her music career has taken her on some very interesting journeys. In her early career, Angel signed with Pittmoble Records/Ichiban Records. Her first album entitled “Introducing Angel Sessions”, was release in 1998. Her single, She was never her, got radio air play on over 40 stations across the globe and the video for the She was never her single, Staring Fred Williamson hit number 80 on the video charts. In 1999, Angel released her second album “Love Ride” on Volt records, a label Fantasy Records reactivated. She preformed a lot around the United States, including her home town in San Leandro CA, Kimball's East, The black Expo, and four times preformed at the Grammy's pre party in Los Angles Ca. Hosted by Tracy Edmond, and other Celebrates with the late Vonnie Sweenie. As a young singer when Angel was signed with Fantasy Records, she had the privilege of meeting and singing with some very talented legendary old-school artists. At that time she was Fancy Record's newest artist who was exposed to seasoned professionals. It isn't often that a younger artist receives this once-in-a-lifetime opportunity. Angel Sessions recorded and duet with Lenny Williams, William Hart of the Delfonics, LJ Reynolds of the Dramatics. She sang back ground vocals on Freda Payne's' album and wrote a song placed on Brenda Holloway album “It's a Woman's world, single called “Don't keep running in and out my life. She also sang a duet with the late Ali Woodson of the Temptations single intitled “Vow” that was placed on the movie sound track, Down N' Dirty, a Fred Williamson production, and background vocals for Earth, Wind and Fire. Angel writes all of her own music and won Honorable Mention 2 years in a row in the Annual Billboard Worldwide Song Contest for her writing and singing. Angel has also had a write up in the Rolling Stone and Billboard Magazine. She has acted in 2 movies, Down N' Dirty produce and staring Fred Williamson, and A smile like Yours with Lauran Holly, and has toured with Mary Wilson of the Supremes as a backup singer. One of Angel's most fun experiences was when she sung in the School Entertainment Activity Program (S.E.A.P) in Los Angeles. Many other artists including Angel traveled to different High Schools to sing for students who truly appreciated their music. The students where inspirited by the performances. Many artists sang in this program to introduce their new songs. Such acts were Usher and SWV (Sisters with Voices), Destiny's Child, and Britney Spears. Angel's current gospel LP "You and me", with her Hit single, "You Can" at #108 on the DRT National Radio Charts top 200 charts, can be purchased on iTunes and Amazon and other music sites on line. Angel has also released a EP album entitled “You” released world wide. Two videos are also released from the EP album, “Chasten” and “You got him, you don't, including the current new video "You can" off the LP "You and me album. She expresses in her song that salvation is of the Lord. He does all of the work of saving a person. “The mercy of God to save anyone is amazing to me, say's Angel.” Yet His divine love though His word penetrates my heart, He guides me to write my songs which are such a blessing to me.”
Recording Artist and song writer Angel Sessions is a well rounded singer/song writer of her own music and style. Angel has been singing for over 17 years. She has released three albums world wide. Her music career has taken her on some very interesting journeys. In her early career, Angel signed with Pittmoble Records/Ichiban Records. Her first album entitled “Introducing Angel Sessions”, was release in 1998. Her single, She was never her, got radio air play on over 40 stations across the globe and the video for the She was never her single, Staring Fred Williamson hit number 80 on the video charts. In 1999, Angel released her second album “Love Ride” on Volt records, a label Fantasy Records reactivated. She preformed a lot around the United States, including her home town in San Leandro CA, Kimball's East, The black Expo, and four times preformed at the Grammy's pre party in Los Angles Ca. Hosted by Tracy Edmond, and other Celebrates with the late Vonnie Sweenie. As a young singer when Angel was signed with Fantasy Records, she had the privilege of meeting and singing with some very talented legendary old-school artists. At that time she was Fancy Record's newest artist who was exposed to seasoned professionals. It isn't often that a younger artist receives this once-in-a-lifetime opportunity. Angel Sessions recorded and duet with Lenny Williams, William Hart of the Delfonics, LJ Reynolds of the Dramatics. She sang back ground vocals on Freda Payne's' album and wrote a song placed on Brenda Holloway album “It's a Woman's world, single called “Don't keep running in and out my life. She also sang a duet with the late Ali Woodson of the Temptations single intitled “Vow” that was placed on the movie sound track, Down N' Dirty, a Fred Williamson production, and background vocals for Earth, Wind and Fire. Angel writes all of her own music and won Honorable Mention 2 years in a row in the Annual Billboard Worldwide Song Contest for her writing and singing. Angel has also had a write up in the Rolling Stone and Billboard Magazine. She has acted in 2 movies, Down N' Dirty produce and staring Fred Williamson, and A smile like Yours with Lauran Holly, and has toured with Mary Wilson of the Supremes as a backup singer. One of Angel's most fun experiences was when she sung in the School Entertainment Activity Program (S.E.A.P) in Los Angeles. Many other artists including Angel traveled to different High Schools to sing for students who truly appreciated their music. The students where inspirited by the performances. Many artists sang in this program to introduce their new songs. Such acts were Usher and SWV (Sisters with Voices), Destiny's Child, and Britney Spears. Angel's current gospel LP "You and me", with her Hit single, "You Can" at #108 on the DRT National Radio Charts top 200 charts, can be purchased on iTunes and Amazon and other music sites on line. Angel has also released a EP album entitled “You” released world wide. Two videos are also released from the EP album, “Chasten” and “You got him, you don't, including the current new video "You can" off the LP "You and me album. She expresses in her song that salvation is of the Lord. He does all of the work of saving a person. “The mercy of God to save anyone is amazing to me, say's Angel.” Yet His divine love though His word penetrates my heart, He guides me to write my songs which are such a blessing to me.”
Hideout Sessions - Episode 121 (Vinyl Only, Xmas Special) As promised, a little bonus, vinyl only, Xmas edition for you. A decent bottle of plonk and half a room of records, bares some rather delicious ear warmers. So, stick it on where ever you end up over the holidays and share it with the ones you love. I hope you enjoy it. Thank you so much for your incredible support for another year. It's been a good one and here's to an even gooderer one, for 2016. Love you...Rxx Tracklist: 1. Earnest Jackson 'Funky Black Man' (Stone Records) 2. Rufus, ft. Chaka Khan 'Better Days' (ABC Records) 3. Leroy Hutson 'All Because Of You' (Curtom) 4. Al Wilson 'Willoughby Brook' (Rocky Road Records) 5. The Apostles 'Onye Akpa' (Ben Neg.) 6. Dyke & The Blazers 'We Got More Soul' (Original Sound) 7. The Natural Four 'The Devil Made Me Do It' (Chess) 8. Mary Clayton 'Gimme Shelter' (Ode Records) 9. Abaco Dream 'Life And Death oIn The G&A' (A&M Records) 10. Dynamic Concept 'La Da Da' (Power Exchange') 11. KRS-One 'Mcs Act Like They Don't Know' (Jive) 12. Gangstarr 'DWYCK' (Chrysalis) 13. EPMD 'Richter Scale' (Def Jam) 14. The Alkaholiks 'Make Room' (Loud) 15. The Beatnuts 'Off The Books' (Relativity) 16. Porn Theatre Ushers 'Me & Him' (Biscuithead Records) 17. Lootpack 'Whenimondamic' (Stones Throw) 18. The High & Mighty 'Dirty Decibels' (Rawkus) 19. Slum Village 'Fall In Love' (Wordplay) 20. Stevie Wonder 'Sunny' (Motown) 21. Lamont Dozier 'You Outta Be In The Pictures' (M&M Records) 22. Rene & Angela 'I Love You More' (Capitol Records) 23. T.S Monk 'Bon Bon Vie' (Miracle Records) 24. Ronnie Laws 'Always There' (United Artists) 25. Starpoint 'Bring Your Sweet Lovin' Back' (Polygram) 26. Linda Clifford 'Let It Ride' (Capitol Records) 27. Pleasure 'Glide' (Fantasy Records) 28. The Joneses 'Summer Groove' (Champagne Records) 29. Change 'Glow Of Love' (RFC) 30. Gayle Adams 'Love Fever' (Prelude) 31. Carol Williams 'Can't Get Enough Of Your Love' (Vanguard) 32. Brenda Taylor 'You Can't Have Your Cake And Eat It Too' (Westend) 33. Patrice Rushen 'Never Gonna Give You Up' (Elektra) 24. Tenor Saw 'Golden Hen' (Up Tempo)
EPISODE 302 WIT ANGEL SESSIONS AND JERRY ROYCE LIVE! Angel Sessions Bio“I’ve always had a love and passion for singing ever since I was a little girl. Touching the lives of others though my music inspirers me to continue my journey for God’s glory until the end.” Angel SessionsThe road to success hasn’t been easy, but after 18 or more years in the music industry, Angel Sessions has proven she is in it to stay. Angel started out early on as an R&B recording artist. Before her first deal with Pittmoble/Ichiban records and Volt Records, Angel was traveling to Guam, performing at the Grammy’s pre party’s in Los Angeles, and performing at the same venue with acts such as The Whispers, H-Town, Tina Marie, James Brown, Eric Benet and many more.She performed also on many local Television stations in the Bay Area and was interviewed on local radio programs shows. Angel Sessions writes all of her own lyrics. “Ever since I can remember, I’ve always wrote songs of love to my heavenly Father. It was a gift God has given me along with the ability to sing.” Angel began singing in church. She was one of the lead singers that would perform a special song when called on. After years of local performances in the Bay area and the Los Angeles area, Angel was introduced to a producer/songwriter that would take her career to the next level. In 1998 she signed a deal with Pittmoble Records. She released her first album entitled “Introducing Angel”. Her first single release, “She was never her” got radio airplay on over 80 BDS stations and was received well. The buzz about Angel was beginning to spread and many people in the industry was hearing the name, Angel Sessions. Ichiban sold the company in 1999. Angel was introduced to the Vice President of Fantasy Records, Phil Jones.She had already recorded her second album “Love Ride” and at the time was shopping for another deal for her new project. Phil Jones loved the album and it was soon released on December 1999 on Volt Records. The single “Get It Right” from the album was also released to all of the radio stations around the country. A video was also shot for the song. Actor/Director Fred Williamson played Angels’ father in the video. The album was also received well and had a small write up review in the Rolling Stones magazine, and mentioned in the Billboard magazine. Volt Records also signed Lenny Williams, Brenda Holiday, Freda Payne, The Delfonics, and The Dramatics. Each of them did a one album deal, and Angel had the opportunity to record backup vocals on their album, and also duets. She was also introduced to Maurice White, lead singer of Earth Wind and Firer. Angel sing on two on Maurice’s songs that would late be placed on the Stylistics album in 2010 entitled “Painted in the Sky”. Many great producers contribute to the album “Love Ride” such as Claytoven Richardson, Preston Glass, Andre Rivers, Larry Batiste, F.L. Pittman, Andre Cymone, and Tony Camillo. Tony Camillo wrote the song “Inconvenience” on Angel’s album “Love Ride.” It was written for the movie “Held Up” starring Jamie Fox and Nia Long. The original title of the film was titled “Inconvenience” but was soon changed to the titled “Held Up”. However, Angel was invited to the movie premiere to meet Jamie Fox and the cast, and to see the film. In 1999, Angel was introduced to Mary Wilson, formally from the talented and famous girl group, The Supremes. In 2004, Angel traveled around the country singing backup for Mary Wilson. In 2005 Angel released her first gospel recording album on CD Baby. The album entitled “He Loves You” began the new journey in the gospel world of music for Angel Sessions. She audition to open up for Fred Hammond at the San Diego State Fair in 2007 and was later ask to do two shows, performing on two different stages, on that same day of the event. In 2012 Angel release other gospel material. She shot her first two gospel video, “Chasten” and “You Got Him, You Don’t”. Both videos where received well by her fans. Angel released her next video in 2013 entitled “You Can”. In one hour after the release, in went viral to over 9,000 views. Angel released her 7th album “You Send Me Higher’ and EP “If You Love Me” that same year. In 2014 her latest album “Hearts of Broken Love” gain exposure from the fans around the world after the release her single “Get Up” from the album. It was released to radio stations and charted at number 1 for 11 weeks on the National US Charts. “Hearts of Broken Love” also charted on Amazon at number 14 for best Gospel music download.Angel is currently working on a new album entitled “Songs of Comfort” and will released her new single “Jesus is Coming Soon” in February 2015. She is also planning on a tour coming soon. She has been featured in Encore HD Hair Magazine, ArtistsUnited Magazine, Say What News online magazine, and Top Cat online magazine. Angel has also had her songs featured on the Coast 2 Coast mixtape, and was nominated for the Underground Music Awards for most promising female artists and nominated for the ALT Music Entertainment Awards for the best female artist. Angel continues her success with sharing her talent for all of her fans and she is so grateful for the support many of her fans has shown her.
EPISODE 302 WIT ANGEL SESSIONS AND JERRY ROYCE LIVE! Angel Sessions Bio“I’ve always had a love and passion for singing ever since I was a little girl. Touching the lives of others though my music inspirers me to continue my journey for God’s glory until the end.” Angel SessionsThe road to success hasn’t been easy, but after 18 or more years in the music industry, Angel Sessions has proven she is in it to stay. Angel started out early on as an R&B recording artist. Before her first deal with Pittmoble/Ichiban records and Volt Records, Angel was traveling to Guam, performing at the Grammy’s pre party’s in Los Angeles, and performing at the same venue with acts such as The Whispers, H-Town, Tina Marie, James Brown, Eric Benet and many more.She performed also on many local Television stations in the Bay Area and was interviewed on local radio programs shows. Angel Sessions writes all of her own lyrics. “Ever since I can remember, I’ve always wrote songs of love to my heavenly Father. It was a gift God has given me along with the ability to sing.” Angel began singing in church. She was one of the lead singers that would perform a special song when called on. After years of local performances in the Bay area and the Los Angeles area, Angel was introduced to a producer/songwriter that would take her career to the next level. In 1998 she signed a deal with Pittmoble Records. She released her first album entitled “Introducing Angel”. Her first single release, “She was never her” got radio airplay on over 80 BDS stations and was received well. The buzz about Angel was beginning to spread and many people in the industry was hearing the name, Angel Sessions. Ichiban sold the company in 1999. Angel was introduced to the Vice President of Fantasy Records, Phil Jones.She had already recorded her second album “Love Ride” and at the time was shopping for another deal for her new project. Phil Jones loved the album and it was soon released on December 1999 on Volt Records. The single “Get It Right” from the album was also released to all of the radio stations around the country. A video was also shot for the song. Actor/Director Fred Williamson played Angels’ father in the video. The album was also received well and had a small write up review in the Rolling Stones magazine, and mentioned in the Billboard magazine. Volt Records also signed Lenny Williams, Brenda Holiday, Freda Payne, The Delfonics, and The Dramatics. Each of them did a one album deal, and Angel had the opportunity to record backup vocals on their album, and also duets. She was also introduced to Maurice White, lead singer of Earth Wind and Firer. Angel sing on two on Maurice’s songs that would late be placed on the Stylistics album in 2010 entitled “Painted in the Sky”. Many great producers contribute to the album “Love Ride” such as Claytoven Richardson, Preston Glass, Andre Rivers, Larry Batiste, F.L. Pittman, Andre Cymone, and Tony Camillo. Tony Camillo wrote the song “Inconvenience” on Angel’s album “Love Ride.” It was written for the movie “Held Up” starring Jamie Fox and Nia Long. The original title of the film was titled “Inconvenience” but was soon changed to the titled “Held Up”. However, Angel was invited to the movie premiere to meet Jamie Fox and the cast, and to see the film. In 1999, Angel was introduced to Mary Wilson, formally from the talented and famous girl group, The Supremes. In 2004, Angel traveled around the country singing backup for Mary Wilson. In 2005 Angel released her first gospel recording album on CD Baby. The album entitled “He Loves You” began the new journey in the gospel world of music for Angel Sessions. She audition to open up for Fred Hammond at the San Diego State Fair in 2007 and was later ask to do two shows, performing on two different stages, on that same day of the event. In 2012 Angel release other gospel material. She shot her first two gospel video, “Chasten” and “You Got Him, You Don’t”. Both videos where received well by her fans. Angel released her next video in 2013 entitled “You Can”. In one hour after the release, in went viral to over 9,000 views. Angel released her 7th album “You Send Me Higher’ and EP “If You Love Me” that same year. In 2014 her latest album “Hearts of Broken Love” gain exposure from the fans around the world after the release her single “Get Up” from the album. It was released to radio stations and charted at number 1 for 11 weeks on the National US Charts. “Hearts of Broken Love” also charted on Amazon at number 14 for best Gospel music download.Angel is currently working on a new album entitled “Songs of Comfort” and will released her new single “Jesus is Coming Soon” in February 2015. She is also planning on a tour coming soon. She has been featured in Encore HD Hair Magazine, ArtistsUnited Magazine, Say What News online magazine, and Top Cat online magazine. Angel has also had her songs featured on the Coast 2 Coast mixtape, and was nominated for the Underground Music Awards for most promising female artists and nominated for the ALT Music Entertainment Awards for the best female artist. Angel continues her success with sharing her talent for all of her fans and she is so grateful for the support many of her fans has shown her.
This week we talk with Studio Director Jeffrey Wood about his work at Fantasy Studios in Berkeley, CA. Fantasy Studios is at the Zaentz Media Center, known for its recording of award-winning albums such as Journey's Escape and Green Day's Dookie. Built as a private recording studio for artists on the Fantasy Records label in 1971, it was opened to the public in 1980 for recording, mixing and mastering. Fantasy Studios continues to operate as a full-service recording studio for the music, television, film and gaming industries.
Singer/ Songwriter Angel Sessions brings her 17 year music journey with 9 albums world wide. Her latest album, "Hearts of Broken Love" is currently No.14 on Amazon for downloads in the gospel category. Her first album entitled “Introducing Angel Sessions”, was release in 1998. Her single, "She was never her", got radio air play on over 80 top BDS stations. In 1999, Angel released her second album “Love Ride” on Volt records, a label Fantasy Records reactivated. Angel Sessions also performed a lot around the United States at Grammy pre-parties in Los Angeles, hosted by Tracy Edmond and the late Vonnie Sweenie. As a young singer when Angel was signed with Fantasy Records, she had the privilege of meeting and recording with some very talented and legendary old-school artists. At that time she was Fantasy Record’s newest artist who was exposed to seasoned professionals. It isn’t often that a younger artist receives this once-in-a-lifetime opportunity. Angel recorded with Lenny Williams, William Hart of the Delfonics and LJ Reynolds of the Dramatics. She also sang a duet with the late Ali Woodson of the Temptations single entitled “Vow” that was placed on the movie sound track, Down N’ Dirty, a Fred Williamson production, and background vocals for Earth, Wind and Fire and the Mighty Dells. Angel writes all of her own music and won a Honorable Mention 2 years in a row in the Annual Billboard Worldwide Song Contest for her writing. Angel was also featured in the Rolling Stone and Billboard Magazine
María Fernanda Acuña, vocals, percussion & Venezuelan cuatro, was born and raised in Venezuela. She specializes in a variety of drums and Latin American percussion instruments. For her work with Quijeremá she has developed a unique drum-set incorporating folk instruments from around the world combined with traditional cymbals, snare and kick drum. Michael Warr, Poet Michael Warr's books of poetry include The Armageddon of Funk (October 2011). His literary awards include the Gwendolyn Brooks Significant Illinois Poets Award. A frequent collaborator with musicians, visual and performing artists, Michael's poems have been dramatized on stage, depicted on canvas, and set to original music compositions. Sheila E, drummer, became a solo artist in 1984, played with Azteca, the Latin jazz-fusion band led by her father, percussionist Pete Escovedo; she also played on two of his solo albums recorded for Fantasy Records. Prince discovered Sheila E. around 1983 and had her sing on "Erotic City," the B-side to his number one 1984 single, "Let's Go Crazy."Her latest is Now & Forever and the family performs at KBLX Stone Soul II Concert, Oct. 1, 2011. Zoë Elton works in film and theatre as a programmer, writer, director and educator, & the long-time director of programming for Mill Valley Film Festival. Don Reed wasn't able to join us, his mother is ill. We hope to have him on at another time to talk about his latest work: THE KIPLING HOTEL which picks up where the earlier show, E-14TH, left off. Ericka Huggins, Black Panther Party leader, activist, artist, teacher, joins us instead of Don, to talk about The Black Power Mixtape, a film which has had an extended run in the San Francisco Bay Area.
RAUL MALO is best known as the founder and front man of Grammy-winning, multi-platinum band the Mavericks. Born in Miami of Cuban parents, he made his mark in the country music world and then drifted into the Latin and jazz arenas via rock n roll. Considered to be one of the finest singers in the world, Raul Malo has always crossed cultures and blurred musical boundaries, breaking new ground with his distinctive balance of vintage sound and contemporary attitude. Raul is celebrating his first album of original material in seven year called "Lucky One" on Fantasy Records. BRIGID KAELIN has played her accordion, musical saw, and sung with the likes of Elvis Costello and Garrison Keillor, but it's her original "alt-country cabaret" music that has charmed audiences worldwide. Recently, she was voted "Best Singer/Songwriter" in her hometown of Louisville, Kentucky, and she'll be departing for her fourth European tour this October. Brigid's latest album, West 28th Street, is part country, part vaudeville, and all Americana.
"How Radio Was Done" Part 85 1985 radio continues, but with a focus on TV. The computer age has arrived and we celebrate with bits from The Firesign Theatre's '85 release, “Eat Or Be Eaten,” followed by Max Headroom, his story and a mix of the BBC pilot show introducing him, and a “live” appearance with David Letterman. Then the music biz (Fantasy Records) and the “Copyright On Love,” and we move into the country with cowboy truckers, their music, and some truck stuff from OTE in '85. Then the pesky Soviets again and an on-air call to Radio Moscow from OTE in '85. 3 Hours. The post Over the Edge – August 29, 2008 appeared first on KPFA.
This earth shattering performance by pianist/bandleader Dave Brubeck's Quartet literally put Dave and his alto saxophonist Paul Desmond and the rest of the band on the Jazz map. This concert performed at Oberlin College in March of 1953 before an audience of mainly classical music students and faculty blew them away. It marked the beginning of Brubeck's pioneering efforts to tour colleges and universities throughout North America which opened up a whole new audience for pure, uncompromising Jazz as played by the Quartet. This recording caught the ears of the Jazz critics who although they always praised Desmond's work, were lukewarm to Brubeck.The ears of Columbia Records executive George Avakian were captured as well and Dave was lured away from Fantasy Records by the major label. Before long Brubeck and the Quartet was the most popular band in Jazz and a Time Magazine cover was soon in the offing. It all started with the release of 'Jazz at Oberlin". Brubeck and Desmond are accompanied by bassist Ron Crotty and drummer Lloyd Davis, who went on to become the lead percussionist of the San Francisco Symphony. Listen to the audience reaction to Brubeck's music by the young audience who had never heard much Jazz......they were awestruck!
Nashville alt-rock trio The Gabe Dixon Band has been around awhile--nine years to be exact. Formed while its members were in college at the University of Miami and led by singer/songwriter/pianist Gabe Dixon, the group enjoyed a short run on the Warner Bros. label before record company reorganization ensued and their deal went south. Now the three musicians' well-crafted songs, like their recently released self-titled album, can be found on Fantasy Records. Download mp3Subscribe at iTunes
© 2020-2025 Ivy Podcast Discovery LLC
