Podcasts about The Fleetwoods

David J Haskins in conversation with David Eastaugh https://davidjhaskins.com/music Both album & book are being released 6th June 2025 The Mother Tree is a poignant five-track album featuring David reciting his poetry to the accompaniment of lush, dramatic, atmospheric music, showcasing his multidimensional musical artistry. The bulk of the title piece was composed over the course of 3 days, in a remote part of Massachusetts where he was living in 1997, this following the passing of his mother, Joan Nancy. Rhapsody, Threnody & Prayer is a book of his poetry collected over the course of many years. The poems encompass a large array of experiences, places, relationships, infatuations and obsessions. Love found and love lost. They include tributes to departed cultural icons like Ian Curtis, Kurt Cobain, Mark Linkous, Jeff Buckley, and Jack Kerouac. David J Haskins Live Dates: June 10 - HQ (Record release event), Denver CO June 12 - Electron Gardens, Atlanta, GA June 14 - Fleetwoods, Asheville, NC June 18 - The Slipper Room, NYC, NY June 24 - Zebulon, Los Angeles, CA

La fase 5 del MCU está terminando y parece que (si la taquilla no miente) la gente tenía ganas de volver a ver alguna peli de Marvel de esas importantes. Las que tienen un nombre conocido en el título. Cumplirá esta peli del Capi con lo prometido? lo analizamos sin spoilers al principio y ya con todo tipo de detalle a partir de la media hora (aprox) con: XeviPanda y Masterwikie edita: XeviPanda música: The Fleetwoods y la tipica canción de la IA escrita por XeviPanda Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

A sleepy time themed collection this week as we take a deep dive into classic sounds from the past and present, all with a blend of sentiments we hold close as midnight approaches. We'll have some old doo wop and early rock chestnuts from Jesse Belvin, The Fleetwoods, The Valentines and The Spaniels with just the right amount of rock, R&B and country. That means a little bit of Fats Domino, some rockabilly from Charline Arthur and Sonny Burgess, middling pop from Doris Day, Jimmy Durant and Dean Martin in store. Little Jimmy Dickens, Milton Brown and Swamp Dogg will also fill the air with country and blues. Friday mornings are the time to tune in for a fresh dose of America's music from the past 100 years hear on KOWS-LP, Occidental, streaming to all of Planet Earth on kowsfm.com/listen. Be sure to install the Radio Rethink app on your Apple device and look us up. We'd be glad to have you.

Episode 601 also includes an E.W. Poetic Piece titled "Bending Branches." Our music this go round is provided by these wonderful artists: Thelonious Monk, Armando Garzon, America, The Fleetwoods, Branford Marsalis & Terence Blanchard.  Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

Loved talking to Bill Pie about his recent trip to New Orleans Jazz Fest, and getting backstage at Stones concert. we also talk about His time at Fleetwoods, working with Stephen Stills, working at Longhi's  and his time at Caribou Ranch     

Episode 297, My Favorite Doo-Wop Music, presents 19 of Sam Waldron favorites, including sweet harmonies like The Fleetwoods' The Great Imposter, raunchy street songs like Love Potion #9, and no-holds-barred recordings like Whispering Bells, She... Read More The post Episode 297, My Favorite Doo-Wop Music appeared first on Sam Waldron.

Popular culture in 1959 was marked by a dynamic mix of artistic and societal shifts. The music scene was dominated by the rise of rock and roll shaping the sound of the era. It found itself rising above the simple adult contemporary and country sounds of the day. Iconic films such as “Some Like It Hot” and “Ben-Hur” showcased a diverse range of storytelling and cinematic styles and cultural narratives found a place in television, with shows like “The Twilight Zone” captivating audiences with thought-provoking and imaginative storytelling. The boomers were reaching their teen years, the space race was launched and a torch was about to be passed in Washington. Our show today spins the top tracks from each of the pop, country, R&B and rock charts reflecting a year of cultural transition, encapsulating the tension between traditional values and the evolving influences of a changing world. Everyone from Johnny Horton and Marty Robbins to Lloyd Price, The Fleetwoods, and Bobby Darin…all in one two hour show on KOWS Community Radio.

Episode 281, After Dark Part 1, explores songs about things that happen after dark. Eighteen recordings include performances by The Andrews Sisters, The Ink Spots, The Fleetwoods, Rosemary Clooney, Patsy Cline, Sammi Smith, Elvis Presley,... Read More The post Episode 281, After Dark Part 1 appeared first on Sam Waldron.

Jeffrey is remembering some classic MTV. Justin is remembering another Fleetwood Town preview. Mike is remembering to stay warm.

Nicolai Højgaard udnyttede til fulde den chance han fik, da brormand Rasmus måtte melde afbud til Hero Cup. Nicolai gik ubesejret gennem sine fire matcher, tog 3,5 point af fire mulige og høstede store roser fra kaptajn Molinari. Vi taler om Hero Cup, hvor det kontinentale hold slog Fleetwoods tropper i Ryder Cup-formatet. Vi har talt med Niklas Nørgaard Møller, der i denne uge stiller op til sin første Rolex Series turnering, om mål og forventninger for sæsonen, hvordan denne sæsonstart er anderledes end sidste år og meget mere. Til sidst vender vi hvad der ellers er sket i golfens fantastiske univers, og så er det blevet tid til årets første nationalsang. Golf Showet er produceret af Qvortrup Media i samarbejde med https://shapingnewtomorrow.dk og https://www.golfexperten.dk

Dolton Records: Good guys countdown featuring the hits and misses of the Seatle-based label called Dolton, providing large-scale pop oldies output from the Fleetwoods, The Ventures, Vic Dana and the Frantics.

Edición tutti frutti con The Box Tops, Flying Burrito Brothers, John Fogerty, Graham Nash, Les Paul & Mary Ford, Brenda Lee, The Chordettes, The Fleetwoods, Nico Roig & Lucia Fumero & Rita Payés, versiones de "La Llorona", Aterciopelados, Mon Laferte, La Marisoul, Clannad, Lito Vitale y Para Negra.

Just in time for Christmas Eve, here is my gift to you all.  It's a holiday mixtape featuring artists who have been featured on Low Profile over the years!  This is definitely not a traditional Christmas mix, you're going to hear a lot of new songs with just a few tweaks to some old familiar tunes from the sort of esoteric artists you've come to expect from this show.  There's even a couple exclusives!This is an updated version of the physical cassette tape that I sent out to all the patreon supporters in December of 2020.  If you'd like to join their ranks and help support the show, please visit patreon.com/lowprofile and give whatever you can to keep this show on track.    The track listing for this episode is below.  And now, the play button!01.  Chris Mastheim “Christmastime is Here”   Nick Krgovich has released a bunch of holiday music under the pseudonym Chris Mastheim.  This is the lyrics to the Vince Guaraldi classic, set to a remix of the Twin Peaks theme song.  A homespun mashup, ready for your local grocery store's holiday playlist.   From the album Chris Mastheim Is Here. 02. Margo Guryan “I Don't Intend to Spend Christmas Without You”   This song isn't really about Christmas, rather about the 25th of December.   From the album 25 Demos. 03. Karl Blau “Dance of the Seaweed Kites”   From his dub cover album of Tchaikovsky, The Coconutcracker, this is a new interpretation of a holiday favorite for generations. 04. Cornershop ft TRWBADOR  “Every Year So Different” This somewhat melancholy tune at least tries to brighten things up in its refrain.  For me, it's all about Cornershop frontman Tjinder Singh's ever-present, not-so-secret weapon: the gift of groove.05. Larry Norman “Christmastime”  Christian rock's original badass' scathing commentary on commercialism, resounding like a long-haired Linus Van Pelt and rocking out like Marc Bolan.   From the album So Long Ago in the Garden. 06. Jib Kidder “Rudolph the Red-Nosed Reindeer.”   As Sean Schuster-Craig puts it, he released his 2003 Xmas album “into any left out pair of shoes left out” at the radio station where he worked at the time.07. Gary Wilson “Sled Ride Tonight” A melancholy love song from his album It's Christmas with Gary Wilson.08. Amps For Christ “Cherry Tree Carol” This is an old folk song about Joseph being a total dick to the Virgin Mary, and then getting a sick burn. From the Kill Rock Stars LP The Oak in the Ashes.09.  Cody Trout Band “Can't Wait for Christmas”   The band Heatwarmer, incognito.  The lyrics say it all.10. Steve Hindalong and Chris Colbert (AKA Skinny and Crisco Bear) “Tis the Season of Excess”   According to Steve, “the skinny Santa's sort of the anti-Santa.  Instead of ‘what you you want, little boy or little girl'… he admonishes everybody for their excessiveness.”  Steve Hindalong has won multiple Dove Awards for his work in Christmas music, and this is not one of those songs. From the 1996 compilation Christmas in Heaven. 11. Swamp Dogg “Santa's Just a Happy Fat Fart”   Father Christmas really seems to have it made, not that I'm jealous or anything, but… From the album An Awful Christmas and a Lousy New Year,12. Klaus Nomi “Silent Night” From the so-called “unfinished opera” Za Bakdaz, here's a particularly lively dance version of a traditional hymn from the late space diva Klaus Nomi13. Gretchen Christopher “Christmas is You” After Gretchen Christopher, chanteuse of the Fleetwoods, recorded her interview for Low Profile outdoors on the deck, Andrew Ebright returned to her home and recorded this performance of one of her most recent songs exclusively for the show.  14. Sean O'Hagan “Kabon's Christmas” In much of Sean's music, particularly the High Llamas, it's not unusual to hear the sound of sleigh bells no matter the topic.  This tune is the only one I can think of that mentions them by name.  15. Julian Koster “Hark The Herald Angels Sing” The Music Tapes frontman accompanies himself on nothing but sleigh bells and musical saw.  In other words, metal AF.  From his album The Singing Saw at Christmastime.16. Cory Ledet “C'est temps noel” Zydeco dynamo Corey Ledet gets bilingual on us in this holiday original, burning up the keys on his accordion! 17. Ashley Eriksson “It's Cold Outside” “Thinking about sound and vision.  Honey, it's cold outside.” Recorded on a Yamaha PSR-37 keyboard.  (Exclusive track)18. Miles Davis (vox by Bob Dorough) “Blue Xmas (To Whom it May Concern)” More critique on the commercialism that creeps in around the end of the year from our hero Bob.   From the Miles Davis album Sorcerer

Roger Ashby goes behind the hits of your favourite songs from the 50s, 60s and 70s. Listen to The Roger Ashby Oldies Show anytime on the iHeartRadio app.

 Gretchen Christopher of the iconic 1950s and 60s pop vocal group the Fleetwoods returns to the show. Gretchen talks about that band's formation, and rise straight to the top of the Billboard charts, and her solo career that followed. The Fleetwoods were comprised of Gretchen Christopher, Barbara Ellis, and Gary Troxel and were the first group to hit number one TWICE on the Billboard Hot 100 Charts in a single year. They were an international success thanks to their tight harmonies, rich sound and classic songs like “Come Softly To Me” and “Mr. Blue.” Gretchen has lived all over the country, but has settled back in here in Olympia, Washington where we produce this program. We first met about a year ago when she came to my all vinyl yard sale looking for fleetwoods abums, and I think the fact that I told her I did but they were not for sale might have helped me score enough points to land an interview with a living legend such as herself. Back In January of 2021 she invited my BFF-slash-guest engineer Andrew Ebright and I to the deck of her home to record this interview on location. She sings a song she wrote for the group acapella, gave us a tour of her place, and showed us some cool memorabilia. Andrew came back a few days after that and recorded her doing a new song on the piano, which you'll hear later.He also got that on video, it's available on this episode's website, at lowprofilepodcast.com. If you're a regular listener, you'll notice the format has changed a little bit on this installment. You won't be hearing music clips throughout the show, instead you'll hear entire songs. But not the big hits like “Come Softly” or “Mr. Blue,” which are fantastic and belong in every record collection. Instead I'm going to share a couple deep cuts from the Fleetwoods:Their version of the classic doo-wop song “We Belong Together” from the Mr. Blue album, and a demo version of “Happy Happy Birthday.”We'll also hear the title track from her “Gretchen's Sweet 16” album, which you can find at goldcupmusic.com

“The Great Imposter” by The Fleetwoods plays as Milner is pulled over by a cop and Terry becomes the first character to encounter Falfa. Jamie “the Archaeologist” from Radio Clash Revival joins Doris to talk about Harrison Ford, Han Solo, and Bob Falfa. Ok, ok, they also talk about race cars, the autobahn, and Lucas's life as well.Come hang out at Mel's Listeners' Drive In on Facebook and @vcrprivileges on Twitter and InstagramArtwork by Alex RobinsonMusic by Chris Frain

Episode 167, “Eight Stories,” focuses on the music and careers of Cliff Richard, The Kingston Trio, Judy Garland, The Fleetwoods, Guy Lombardo, Bing Crosby, Helen Forrest, and Louis Armstrong. 45 RPM, Music of the 40s... Read More The post Episode 167, “Eight Stories,” appeared first on Sam Waldron.

Season 2: Episode 6 Nicole Atkins   Photo by Barbara FG   Episode 6 of Song Chronicles’ second season features a freewheeling conversation with Nicole Atkins, a singer-songwriter NPR Music hailed as “one of those people who is so inventive in everything she does.”     Last April, Nicole released her fifth full-length, Italian Ice, an album she described as to "an acid trip through my record collection." It certainly serves up an exquisite blend of soul, country, rock, blues, and classic pop that showcases her powerful, dramatic voice.     Unable to do her normal touring for her new album, Nicole got creative and hosted an online record release event. She also started presenting a weekly livestream variety show, We’re All In This Together. During the summer, Nicole switched to doing a live streaming series, Live From the Steel Porch, initially based out of Asbury Park’s Langosta Lounge (near her hometown of Neptune City, New Jersey) and later from The Dive Motel in East Nashville, her current home.   Nicole performing at the Langosta Lounge   In December, Nicole released the holiday single “Every Single Christmas,” which she co-wrote with JD McPherson. (She quite accurately described her version as “Cyndi Lauper and Brenda Lee, the spirit of the NY Dolls and The Ramones' 'Palisades Park,' all rolled up into a National Lampoon’s Christmas movie"). Endlessly creative, she has already put out via Bandcamp this year covers of Brenda Lee’s “Break It To Me Gently” and Hoagy Carmichael’s “Stardust," as well as a duet with her friend Marissa Nadler on The Fleetwoods’ gem “Mr. Blue.”     The pandemic also gave her the opportunity to spend a lot of time with another of creative loves: painting. In fact, this interview took place while she was creating a mural at the Ivy Manor Studios in Sheffield, Alabama in the legendary Muscle Shoals area.   Nicole points out a detail of the mural she was painting at Ivy Manor Studios Portraits of the Swampers that Nicole painted   Muscle Shoals has been a favorite destination for Nicole of late. It’s the location for her label, Single Lock Records, which was founded by The Alabama Shakes’ Ben Tanner and the acclaimed singer-songwriter John Paul White. She also recorded Italian Ice at the renowned Muscle Shoals Sound Studio. Featuring contributions from Swampers David Hood and Spooner Oldham, Spoon’s Britt Daniels, the album has garnered much acclaim. Consequence of Sound raved that Italian Ice is “the best thing she’s done so far,” and Elvis Costello stated it proves “once more that you can respect the ‘then’ and still be about the ‘now’.”     Nicole outside and inside the Muscle Shoals Sound Studio   Music has been a major part of Nicole’s life since childhood. She began learning piano when she was nine, taught herself guitar at 13, and was playing in bands by seventh grade. While she went to University of North Carolina at Charlotte to study art, Nicole admits she concentrated more on music. During her time in Charlotte, she played in the popular local band Nitehawk and the alt-country group Los Parasols. She then spent several years bouncing between Charlotte and New York City, sometimes playing in groups and sometimes solo.   Nicole performing on Late Night With David Letterman Show in 2007   Attracting major label interest, Nicole and her band The Sea signed with Columbia in 2006, with their debut, Neptune City, appearing in 2007. Nicole had a new band, dubbed The Black Sea, when she started doing her second album; however, problems with Columbia made her leave the label without the album being released. The record (entitled Mondo Amore) eventually came out on Razor & Tie Records in 2011.   Nicole singing at La Zona Rosa at 2010's SXSW. Photo by Kirk Stauffer   While preparing to make album three, Nicole suffered the bad luck of having Hurricane Sandy flood her family’s home. Neptune City producer Tore Johansson invited her to record her album at his studio in Sweden. There she cobbled together songs from fragments she had on her iPhone, which resulted in 2014’s Slow Phaser, her self-described “prog-disco” album.   Photo by Brett Winter Lemon   In concert at Red Rocks Photo By Rett Rogers   Teaming up with Single Lock Records, Nicole recorded her fourth album in Fort Worth, Texas with the production trio Niles City Sound (the team behind Leon Bridges’ breakout debut). The stylish Goodnight Rhonda Lee exudes a retro vibe that attracted comparisons to Dusty Springfield, Roy Orbison, and Patsy Cline, and it’s a sound that evolved into something even more timeless on Italian Ice.     Photo by Barbara FG   Please enjoy our conversation with the multi-talented, thoroughly delightful Nicole Atkins.

When Gene Vincent performed in Vancouver in 1958, the opening act was Bonnie Guitar. Bonnie started her career in Seattle. She recorded "Dark Moon" on Dot Records in March of 1957, an instant hit even though initially she had strong competition from singer-actress Gale Storm. Her next smash was "Mister Fire Eyes" and her stage presentation was smooth as glass. Bonnie sat down with me at CKWX the day before the concert for this interview. When I look back it was a good balance at the time. There was much interest in Bonnie Guitar in those days because she was one of the very few female singers to make a hit record. I was to enjoy many visits with Bonnie over the years as she later became involved with Bob Reisdorff and Dolton Records, based in Seattle. The label fostered groups like the The Ventures and the Fleetwoods, songs by Bonnie herself, Vic Dana, and others. Bob had a good ear for music. The Fleetwoods - Gary Troxel, Barbara Ellis and Gretchen Christopher - were students at Olympia High School. They wrote a song called "Come Softly To Me" and it was a smash number one song in the Spring of 1959. Their gentle sound preceded The Carpenters by a dozen years. Their last Top Ten hit was a revival of the Thomas Wayne classic "Tragedy" in 1961. In a 2006 interview with No Depression magazine, Bonnie said "Because they had so much air in their voices, I had to do a lot of different fooling with microphones to get enough sound on the tape to saturate the tape.” You'll hear a Fleetwoods promo for my CKWX show right after the interview. Bonnie left Dolton in 1960 and became part owner of Jerden Records with my old friend, the late Jerry Dennon. Dolton was merged with Liberty Records in 1966. Liberty had distributed Dolton releases since "Come Softly to Me" became a hit, but discontinued the Dolton label in 1967, transferring its artists to the parent label. Bonnie Guitar retired from performing in 1996. She died in 2019 at the age of 95. She'll always be remembered as a multi-talented businesswoman who made an impact in the male-dominated music industry.

Í Víðsjá í dag verður meðal annars sagt frá nýjustu skáldsögu breska rithöfundarins Kazuo Ishiguro en hún kom út á dögunum og nefnist Klara and the Sun. Þetta er áttunda skáldsaga Ishiguros, og sú fyrsta sem hann sendir frá sér eftir að hann hlaut Nóbelsverðlaun í bókmenntum árið 2017. Bókin hefur nú þegar fengið frábæra dóma, gagnrýnendur tala um meistaraverk. Víðsjá hugar líka að argentínska tónskáldinu Astor Piazzolla en í vikunni verða hundrað á liðinn frá fæðingu hans. Olivier Manoury segir frá tónskáldinu en hann kemur fram á tónleikum með Kordo kvartettinum í Salnum í Kópavogi sem haldnir verða tónskáldinu til heiðurs. Snæbjörn Brynjarsson leiklistargagnrýnandi Víðsjár fjallar í dag um leiksýninguna Sunnefu sem leikhópurinn Svipir frumsýndi í leikstjórn Þórs Tulinius Tjarnarbíói í síðustu viku, en verkið fjallar um Sunnefu Jónsdóttur sem var tvisvar dæmd til dauða fyrir blóðskömm á fyrri hluta 18. aldar, en reis upp gegn yfirvaldinu. Og tónlistarhornið Heyrandi nær verður á sínum stað í Víðsjá á mánudegi, að þessu sinni beinir Arnljótir Sigurðsson stækkunarglerinu að hinu bandaríska, dúnmjúka og dáleiðandi bandi frá sjötta áratugnum, The Fleetwoods, hvers unaðstónar gáfu unglingum gæsahúðir fyrir sextíu árum síðan.

Í Víðsjá í dag verður meðal annars sagt frá nýjustu skáldsögu breska rithöfundarins Kazuo Ishiguro en hún kom út á dögunum og nefnist Klara and the Sun. Þetta er áttunda skáldsaga Ishiguros, og sú fyrsta sem hann sendir frá sér eftir að hann hlaut Nóbelsverðlaun í bókmenntum árið 2017. Bókin hefur nú þegar fengið frábæra dóma, gagnrýnendur tala um meistaraverk. Víðsjá hugar líka að argentínska tónskáldinu Astor Piazzolla en í vikunni verða hundrað á liðinn frá fæðingu hans. Olivier Manoury segir frá tónskáldinu en hann kemur fram á tónleikum með Kordo kvartettinum í Salnum í Kópavogi sem haldnir verða tónskáldinu til heiðurs. Snæbjörn Brynjarsson leiklistargagnrýnandi Víðsjár fjallar í dag um leiksýninguna Sunnefu sem leikhópurinn Svipir frumsýndi í leikstjórn Þórs Tulinius Tjarnarbíói í síðustu viku, en verkið fjallar um Sunnefu Jónsdóttur sem var tvisvar dæmd til dauða fyrir blóðskömm á fyrri hluta 18. aldar, en reis upp gegn yfirvaldinu. Og tónlistarhornið Heyrandi nær verður á sínum stað í Víðsjá á mánudegi, að þessu sinni beinir Arnljótir Sigurðsson stækkunarglerinu að hinu bandaríska, dúnmjúka og dáleiðandi bandi frá sjötta áratugnum, The Fleetwoods, hvers unaðstónar gáfu unglingum gæsahúðir fyrir sextíu árum síðan.

Charlie Hall is a multi instrumentalist, a singer, and the drummer for The War On Drugs. In his involuntary break from touring with The War On Drugs in 2020, he's found himself working on his own music, listening to The Fleetwoods and missing getting together with his pals for a sing along around the piano. In this episode, Joe and Charlie talk improvising, the Great British Baking Show and what Donald Trump will do following his presidency and a second impeachment. Enjoy. Music by The War On Drugs, Palm Fronds and Joe Plummer. Episode sponsored by Izotope, makers of the finest mixing, mastering and audio repair tools. https://www.izotope.com/en/lp/ruinous.html

For this second holiday 2020 bonus episode, Low Profile brings you a high-profile artist. She has won multiple gold records and is in the Vocal Group Hall of fame. Her name is Gretchen Christopher, and she is one of the founders of 1950s-1960s pop sensations the Fleetwoods, who began their career here in Olympia, Washington. She will be featured in an upcoming episode about the Fleetwoods next season, but today I’m presenting our conversation about her newest single, “Christmas Is You,” after nearly 40 years in the making. Gretchen tells the story behind the song, along with the story of how we met, just in time for the holiday season.

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Episode 141, “1950s Superstars,” presents the music of 19 successful ‘50s performers including Pat Boone, Johnny Mathis, Matt Monro, Ricky Nelson, Mel Torme, Eydie Gorme, The Fleetwoods, The Platters, The Kingston Trio, Bobby Darin, Giselle... Read More The post Episode 141, “1950s Superstars,” appeared first on Sam Waldron.

Willie and waylon spring from Frank's daydream while holding a moist ,cold beverage --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mitchell-merck/support

Due to some Technical issues, the Big W has picked a classic episode of the Morning Show from the vaults to share with you again! Let’s go back to 12/7/2016 for 30 minutes with THE FLEETWOODS between 1959-1964. A perfect 30 minutes blend of great music in LIVING STEREO on this HUMP DAY---see you tomorrow with an All-New Show! Playlist for 6/17/20 (The Fleetwoods): • Come Softly to Me • Mr. Blue • Outside My Window • Runaround • Bye, Bye Blackbird • Tragedy • The Great Imposter • Lavender Blue • Lovers by Night, Strangers by Day • Goodnight, My Love • Before and After

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at “Three Steps to Heaven” by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on “Quarter to Three” by Gary US Bonds. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh’s book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran’s music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn’s Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There’s been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we’re going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We’re going to look at what would be Eddie Cochran’s final tour, and at his UK number one single “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] When we left Eddie Cochran, he had just appeared in the film “The Girl Can’t Help It”, singing “Twenty Flight Rock”, and he had also had a hit with “Sittin’ in the Balcony”. But he hadn’t yet managed to establish himself as the star he knew he could be — he was the whole package, singer, songwriter, and especially guitarist, and he hadn’t yet made a record that showed him to his best advantage as an artist. “Twenty Flight Rock” had come close, but it wasn’t a song he’d written himself, and the record hadn’t yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him — they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin’ to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map — a song that would mean he wasn’t just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. “Twenty Flight Rock” hadn’t ended up being a hit at all, despite its placement in a popular film — they’d left it too long between the film coming out and releasing the record, and he’d lost that momentum. At the end of 1957 he’d gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he’d become much closer with Vincent, with whom he’d already struck up a friendship when making The Girl Can’t Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations — Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who’d been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn’t had a real hit since his first single, “Be Bop A Lula”, while Cochran had made the top twenty with “Sittin’ in the Balcony”, but the highest he’d got after that was number eighty-two. He’d recently recorded a song co-written by George Mottola, who’d written “Goodnight My Love”, but “Jeannie, Jeannie, Jeannie” stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, “Jeannie, Jeannie, Jeannie”] So neither man was in a good place at the start of 1958, but they had very different attitudes — Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist — if rock and roll didn’t work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent’s latest album. It’s Cochran singing the bass vocals at the start of “Git It”, one of Vincent’s greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, “Git It”] But shortly after that recording, a major turn in Cochran’s fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran’s records were unsuccessful was that they just didn’t have the money to promote them as much as they’d like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called “The Witch Doctor”, featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn’t have any lyrics for it, and his friend and co-writer Jerry Capehart said “there’s never been a blues about the summer”. The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran’s only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, “Summertime Blues”] That track was recorded with a minimal number of musicians — Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record — Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She’d dated one of the Everly Brothers for a while — different reports name different brothers, but the consensus seems to be that it was Don — and then when they’d split up, she’d written a song called “Poor Little Fool”. She’d then faked having her car break down outside Ricky Nelson’s house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters — Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them — but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley’s “Poor Little Fool” became Nelson’s first number one, as well as being the first number one ever on Billboard’s newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, “Poor Little Fool”] Sheeley gets unfairly pigeonholed as a groupie (not that there’s anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it’s important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four — and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren’t hits but probably deserved to be, like Ral Donner’s “Don’t Put Your Heart in His Hands”: [Excerpt: Ral Donner, “Don’t Put Your Heart in His Hands”] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as “just Eddie Cochran’s girlfriend”, when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as “just Sharon Sheeley’s boyfriend”. I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as “a groupie”, “a fantasist”, and worse, and very few mentions of the fact that she had a life outside her partner. “Summertime Blues” looked like it was going to be the start of Eddie Cochran’s career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, “C’mon Everybody”, which was written by Cochran and Capehart to much the same formula, but without the humour that characterised “Summertime Blues”, didn’t do so well: [Excerpt: Eddie Cochran, “C’mon Everybody”] That made only number thirty-five on the US charts, and would be Cochran’s last top forty record there — but in the UK, it was a bigger hit than “Summertime Blues”, reaching number six. “C’mon Everybody” was, though, big enough for Cochran to make some TV appearances. He’d agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he’d decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to “C’mon Everybody”, “Teenage Heaven”, only went to number ninety-nine on the charts, and his next two singles didn’t do much better. “Somethin’ Else”, a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles’ “Hallelujah I Love Her So” didn’t chart at all. 1959 was a depressing year for Cochran personally and professionally. But while “Somethin’ Else” and “Hallelujah I Love Her So” were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people’s minds was still that of the rockabillies from a couple of years earlier — while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran’s friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries’ musicians’ unions, it was difficult for musicians to perform in one country if they were from the other. It wasn’t quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn’t come to the UK. Unless they had nowhere else to go, that is — and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who’d burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, “Wildcat”: [Excerpt: Gene Vincent, “Wildcat”] That single wasn’t doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, “Boy Meets Girls”, based around one of Parnes’ artists, Marty Wilde, and also had a column in Disc magazine. They’d get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes’ acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He’d just got married, and he and his wife were trying for their first kid — they’d decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, “Bad Boy”: [Excerpt: Marty Wilde, “Bad Boy”] That meant that Wilde’s band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they’d be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called “Wildcat”. That made him perfect for Parnes’ purposes, though Vincent was slightly nervous about using British musicians — he simply didn’t think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good’s earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured “People Gotta Talk”: [Excerpt: Joe Brown, “People Gotta Talk”] But Brown had an independent streak, which could be seen just from his name — Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain’s most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he’d worked with in the USA. But that was about all that he liked about the UK — you couldn’t get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied — he’d strapped them both to the leg iron he used for his damaged leg, so they wouldn’t set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn’t help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he’d moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he’d already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he’d used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, “Summertime”, live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and “Wildcat” started going up the charts. Even though Gene Vincent hadn’t had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too — as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He’d been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight — all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point — a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees — Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes’ acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician’s musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone — Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn’t have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him “The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin – his skin was a light brown, beautiful colour, all that California sunshine, and I thought ‘you lucky devil’. We had Manchester white all over us. And he had the most beautiful face — the photographs never did the guy justice”. From the moment Cochran started his set in Ipswich, by saying “It’s great to be here in Hipswich” and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like — and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing “Somethin’ Else”, the song that Sharon Sheeley had written for him that had been a minor hit, and he’d whirl round and face the audience on the opening line, “Well look-a there!” [Excerpt: Eddie Cochran and Gene Vincent, “Somethin’ Else [Eddie Cochran vocals]”, Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes’ acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with “Collette”, one of many hits he wrote for himself: [Excerpt: Billy Fury, “Collette”]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him — but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease — one story has him telling a nervous Fury, about to go on stage, to just say to himself “I am the greatest performer in the world”. Fury repeated back “I am the greatest performer in the world”, and Cochran replied, “No you’re not — I am!” This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour’s residency in Liverpool, during which time Cochran was opening his set with his version of “What’d I Say”: [Excerpt: Gene Vincent and Eddie Cochran, “What’d I Say [Eddie Cochran vocals]”, Saturday Club version] We have this report of Cochran’s performance in Liverpool: “Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’” That’s a quote from George Harrison in the early 1990s. He’d gone to see the show with a friend, John Lennon — it was Lennon’s first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows — he preferred records — but even he couldn’t resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes — after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks’ time, when Cochran was going to come back. It’s quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He’d asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he’d experienced. But on the other hand, he was enjoying making music with these British people. There’s a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song “My Babe” on “Boy Meets Girls”: [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they’d have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger’s “Brother Won’t You Join the Line”: [Excerpt: Ewan MacColl and Peggy Seeger, “Brother Won’t You Join the Line?”] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car — Cochran sitting between Vincent and Sheeley, as Sheeley couldn’t stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing “California Here We Come” together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle’s car made its way onward towards London, and ran out of fuel. As all-night garages weren’t a thing in Britain then, they flagged down a policeman who told them there’d been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they’d taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran’s death, “Three Steps to Heaven”, which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] It went to number one, and became Cochran’s biggest hit. Larry Parnes didn’t see why Cochran’s death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran’s last song was “Three Steps to Heaven”. Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he’d got booked in Liverpool wouldn’t get enough of a crowd, so he booked in a number of local bands — Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers — to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we’ll pick up on what happened then in a few months. Sharon Sheeley, once she’d recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley’s husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she’d been Eddie Cochran’s girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at "Three Steps to Heaven" by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on "Quarter to Three" by Gary US Bonds. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh's book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran's music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn's Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we're going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We're going to look at what would be Eddie Cochran's final tour, and at his UK number one single "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] When we left Eddie Cochran, he had just appeared in the film "The Girl Can't Help It", singing "Twenty Flight Rock", and he had also had a hit with "Sittin' in the Balcony". But he hadn't yet managed to establish himself as the star he knew he could be -- he was the whole package, singer, songwriter, and especially guitarist, and he hadn't yet made a record that showed him to his best advantage as an artist. "Twenty Flight Rock" had come close, but it wasn't a song he'd written himself, and the record hadn't yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him -- they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin' to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map -- a song that would mean he wasn't just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. "Twenty Flight Rock" hadn't ended up being a hit at all, despite its placement in a popular film -- they'd left it too long between the film coming out and releasing the record, and he'd lost that momentum. At the end of 1957 he'd gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he'd become much closer with Vincent, with whom he'd already struck up a friendship when making The Girl Can't Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations -- Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who'd been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn't had a real hit since his first single, "Be Bop A Lula", while Cochran had made the top twenty with "Sittin' in the Balcony", but the highest he'd got after that was number eighty-two. He'd recently recorded a song co-written by George Mottola, who'd written "Goodnight My Love", but "Jeannie, Jeannie, Jeannie" stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, "Jeannie, Jeannie, Jeannie"] So neither man was in a good place at the start of 1958, but they had very different attitudes -- Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist -- if rock and roll didn't work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent's latest album. It's Cochran singing the bass vocals at the start of "Git It", one of Vincent's greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, "Git It"] But shortly after that recording, a major turn in Cochran's fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran's records were unsuccessful was that they just didn't have the money to promote them as much as they'd like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called "The Witch Doctor", featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn't have any lyrics for it, and his friend and co-writer Jerry Capehart said "there's never been a blues about the summer". The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran's only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, "Summertime Blues"] That track was recorded with a minimal number of musicians -- Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record -- Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She'd dated one of the Everly Brothers for a while -- different reports name different brothers, but the consensus seems to be that it was Don -- and then when they'd split up, she'd written a song called "Poor Little Fool". She'd then faked having her car break down outside Ricky Nelson's house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters -- Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them -- but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley's "Poor Little Fool" became Nelson's first number one, as well as being the first number one ever on Billboard's newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, "Poor Little Fool"] Sheeley gets unfairly pigeonholed as a groupie (not that there's anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it's important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four -- and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren't hits but probably deserved to be, like Ral Donner's "Don't Put Your Heart in His Hands": [Excerpt: Ral Donner, "Don't Put Your Heart in His Hands"] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as "just Eddie Cochran's girlfriend", when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as "just Sharon Sheeley's boyfriend". I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as "a groupie", "a fantasist", and worse, and very few mentions of the fact that she had a life outside her partner. "Summertime Blues" looked like it was going to be the start of Eddie Cochran's career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, "C'mon Everybody", which was written by Cochran and Capehart to much the same formula, but without the humour that characterised "Summertime Blues", didn't do so well: [Excerpt: Eddie Cochran, "C'mon Everybody"] That made only number thirty-five on the US charts, and would be Cochran's last top forty record there -- but in the UK, it was a bigger hit than "Summertime Blues", reaching number six. "C'mon Everybody" was, though, big enough for Cochran to make some TV appearances. He'd agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he'd decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to "C'mon Everybody", "Teenage Heaven", only went to number ninety-nine on the charts, and his next two singles didn't do much better. "Somethin' Else", a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles' "Hallelujah I Love Her So" didn't chart at all. 1959 was a depressing year for Cochran personally and professionally. But while "Somethin' Else" and "Hallelujah I Love Her So" were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people's minds was still that of the rockabillies from a couple of years earlier -- while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran's friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries' musicians' unions, it was difficult for musicians to perform in one country if they were from the other. It wasn't quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn't come to the UK. Unless they had nowhere else to go, that is -- and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who'd burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, "Wildcat": [Excerpt: Gene Vincent, "Wildcat"] That single wasn't doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, "Boy Meets Girls", based around one of Parnes' artists, Marty Wilde, and also had a column in Disc magazine. They'd get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes' acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He'd just got married, and he and his wife were trying for their first kid -- they'd decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, "Bad Boy": [Excerpt: Marty Wilde, "Bad Boy"] That meant that Wilde's band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they'd be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called "Wildcat". That made him perfect for Parnes' purposes, though Vincent was slightly nervous about using British musicians -- he simply didn't think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good's earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured "People Gotta Talk": [Excerpt: Joe Brown, "People Gotta Talk"] But Brown had an independent streak, which could be seen just from his name -- Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain's most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he'd worked with in the USA. But that was about all that he liked about the UK -- you couldn't get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied -- he'd strapped them both to the leg iron he used for his damaged leg, so they wouldn't set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn't help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he'd moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he'd already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he'd used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, "Summertime", live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and "Wildcat" started going up the charts. Even though Gene Vincent hadn't had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too -- as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He'd been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight -- all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point -- a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees -- Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes' acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician's musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone -- Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn't have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him "The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin - his skin was a light brown, beautiful colour, all that California sunshine, and I thought 'you lucky devil'. We had Manchester white all over us. And he had the most beautiful face -- the photographs never did the guy justice". From the moment Cochran started his set in Ipswich, by saying "It's great to be here in Hipswich" and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like -- and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing "Somethin' Else", the song that Sharon Sheeley had written for him that had been a minor hit, and he'd whirl round and face the audience on the opening line, "Well look-a there!" [Excerpt: Eddie Cochran and Gene Vincent, "Somethin' Else [Eddie Cochran vocals]", Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes' acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with "Collette", one of many hits he wrote for himself: [Excerpt: Billy Fury, "Collette"]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him -- but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease -- one story has him telling a nervous Fury, about to go on stage, to just say to himself "I am the greatest performer in the world". Fury repeated back "I am the greatest performer in the world", and Cochran replied, "No you're not -- I am!" This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour's residency in Liverpool, during which time Cochran was opening his set with his version of "What'd I Say": [Excerpt: Gene Vincent and Eddie Cochran, "What'd I Say [Eddie Cochran vocals]", Saturday Club version] We have this report of Cochran's performance in Liverpool: "Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’" That's a quote from George Harrison in the early 1990s. He'd gone to see the show with a friend, John Lennon -- it was Lennon's first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows -- he preferred records -- but even he couldn't resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes -- after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks' time, when Cochran was going to come back. It's quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He'd asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he'd experienced. But on the other hand, he was enjoying making music with these British people. There's a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song "My Babe" on "Boy Meets Girls": [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they'd have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger's "Brother Won't You Join the Line": [Excerpt: Ewan MacColl and Peggy Seeger, "Brother Won't You Join the Line?"] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car -- Cochran sitting between Vincent and Sheeley, as Sheeley couldn't stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing "California Here We Come" together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle's car made its way onward towards London, and ran out of fuel. As all-night garages weren't a thing in Britain then, they flagged down a policeman who told them there'd been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they'd taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran's death, "Three Steps to Heaven", which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] It went to number one, and became Cochran's biggest hit. Larry Parnes didn't see why Cochran's death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran's last song was "Three Steps to Heaven". Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he'd got booked in Liverpool wouldn't get enough of a crowd, so he booked in a number of local bands -- Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers -- to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we'll pick up on what happened then in a few months. Sharon Sheeley, once she'd recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley's husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she'd been Eddie Cochran's girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

The Fleetwoods - Tom Irvine previews his Fleetwood Mac tribute band's show at The Cook.

Tuesday December 17th (00:00) Who was whistling down Floyd’s street? My dad’s visit, and the third person to say this to me. (7:45) My mom, a spirit in our house? (11:05) Today is our one year anniversary. THANK YOU. Check, before you go to the new TMA exhibit. (16:03) (Christmas?) Tacos and Christmas Trivia Tuesday for Walleye tickets. (19:00) OK, let’s get these questions answered. (21:11) You may have trouble registering online for your Toledo water bill. Sir Maejor is back being a nuisance. And a nuisance bar is still closed. (26:39) You’re brave for allowing packages to just sit outside. This legendary song is finally a #1. The Child will NOT be in Rise of Skywalker. (32:13) With my dad here, I thought real hard about what lessons he’s taught me. (38:29) Our friends from BCAN are here to invite you to Rise Up LIVE Thursday at Fleetwoods. (44:04) Whoopi SHUT DOWN Meghan McCain on The View yesterday. (51:03) What have you had stolen from you, worst part of Christmas and more in PFOL. (56:07) The Trailer game with the biggest non-Avengers movies of 2019. (1:02:12) Holiday things to stream and a popular brand going back to the 90s.

Nur Golf meldet sich in dieser Woche mit einer Kurzausgabe. Denn in Mexiko bei der Mayakoba Classic wird wetterbedingt auch am Montag gespielt. Daher ist zum Zeitpunkt unserer Aufnahme da noch nichts entschieden. Und so können wir uns voll und ganz auf die Nedbank Golf Challenge in Sun City stürzen. Dort durchbrach Tommy Fleetwood seine fast zweijährige Siegdürre mit einer fulminanten Schlussrunde mit drei Eagles. Und die katapultierte ihn ins Stechen mit Markus Kinhult und anschließend auf Platz 1. Lohn der Mühe: Eine herzliche Umarmung von Legende und Turnierschirmherr Gary Player und satte 2,5 Mio. Euro. Mehr Infos bei golfpost.de: Fleetwood gewinnt in Südafrika Euch gefällt dieser Podcast - oder ihr habt Kritik, Fragen oder Anregungen? Dann freuen wir uns, wenn wir von euch hören. Lasst uns gerne bei iTunes eine Rezension und ein bisschen Feedback da. Schreibt uns, was ihr gut oder auch schlecht findet, oder welche Themen wir eurer Meinung nach mal in einer Sendung behandeln sollten. Oder ihr schreibt unserem Moderator direkt per Mail (malte.asmus@meinsportpodcast.de) oder Twitter (@MalteAsmus). Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten.

Nur Golf meldet sich in dieser Woche mit einer Kurzausgabe. Denn in Mexiko bei der Mayakoba Classic wird wetterbedingt auch am Montag gespielt. Daher ist zum Zeitpunkt unserer Aufnahme da noch nichts entschieden. Und so können wir uns voll und ganz auf die Nedbank Golf Challenge in Sun City stürzen. Dort durchbrach Tommy Fleetwood seine fast zweijährige Siegdürre mit einer fulminanten Schlussrunde mit drei Eagles. Und die katapultierte ihn ins Stechen mit Markus Kinhult und anschließend auf Platz 1. Lohn der Mühe: Eine herzliche Umarmung von Legende und Turnierschirmherr Gary Player und satte 2,5 Mio. Euro. Mehr Infos bei golfpost.de: Fleetwood gewinnt in Südafrika Euch gefällt dieser Podcast - oder ihr habt Kritik, Fragen oder Anregungen? Dann freuen wir uns, wenn wir von euch hören. Lasst uns gerne bei iTunes eine Rezension und ein bisschen Feedback da. Schreibt uns, was ihr gut oder auch schlecht findet, oder welche Themen wir eurer Meinung nach mal in einer Sendung ...

Nur Golf meldet sich in dieser Woche mit einer Kurzausgabe. Denn in Mexiko bei der Mayakoba Classic wird wetterbedingt auch am Montag gespielt. Daher ist zum Zeitpunkt unserer Aufnahme da noch nichts entschieden. Und so können wir uns voll und ganz auf die Nedbank Golf Challenge in Sun City stürzen. Dort durchbrach Tommy Fleetwood seine fast zweijährige Siegdürre mit einer fulminanten Schlussrunde mit drei Eagles. Und die katapultierte ihn ins Stechen mit Markus Kinhult und anschließend auf Platz 1. Lohn der Mühe: Eine herzliche Umarmung von Legende und Turnierschirmherr Gary Player und satte 2,5 Mio. Euro. Mehr Infos bei golfpost.de: Fleetwood gewinnt in Südafrika Euch gefällt dieser Podcast - oder ihr habt Kritik, Fragen oder Anregungen? Dann freuen wir uns, wenn wir von euch hören. Lasst uns gerne bei iTunes eine Rezension und ein bisschen Feedback da. Schreibt uns, was ihr gut oder auch schlecht findet, oder welche Themen wir eurer Meinung nach mal in einer Sendung behandeln sollten. Oder ihr schreibt unserem Moderator direkt per Mail (malte.asmus@meinsportpodcast.de) oder Twitter (@MalteAsmus). Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten.

Nur Golf meldet sich in dieser Woche mit einer Kurzausgabe. Denn in Mexiko bei der Mayakoba Classic wird wetterbedingt auch am Montag gespielt. Daher ist zum Zeitpunkt unserer Aufnahme da noch nichts entschieden. Und so können wir uns voll und ganz auf die Nedbank Golf Challenge in Sun City stürzen. Dort durchbrach Tommy Fleetwood seine fast zweijährige Siegdürre mit einer fulminanten Schlussrunde mit drei Eagles. Und die katapultierte ihn ins Stechen mit Markus Kinhult und anschließend auf Platz 1. Lohn der Mühe: Eine herzliche Umarmung von Legende und Turnierschirmherr Gary Player und satte 2,5 Mio. Euro. Mehr Infos bei golfpost.de: Fleetwood gewinnt in Südafrika Euch gefällt dieser Podcast - oder ihr habt Kritik, Fragen oder Anregungen? Dann freuen wir uns, wenn wir von euch hören. Lasst uns gerne bei iTunes eine Rezension und ein bisschen Feedback da. Schreibt uns, was ihr gut oder auch schlecht findet, oder welche Themen wir eurer Meinung nach mal in einer Sendung ...

Sean Swain on Jpay and New Documentary About Band Negro Terror This week, we feature an interview with Sean Swain about the JPay system being incorporated into the North Carolina prison system based on his experiences in Ohio, increased tension leading to a riot in mid-April at Piedmont facility and the employment of former Ohio Prison Director Gary Mohr as a consultant to the NC system. Then, documentarian John Rash shares about his latest documentary about an all-black, anti-racist oi punk band from Memphis, TN. This band is called “Negro Terror” and the movie is touring the southeastern U.S. More on that in a moment. Sean Swain on JPay starts at 6:54 In the first portion of this episode, you'll be hearing from anarchist prisoner Sean Swain, but in a slightly different manner, where Bursts gets to ask a few clarifying question in the time we had available. First off, sorry about the call quality, we're still working out our recording ability for VA. When we first started talking to Sean all those years back (November 2013 if you want to hear it) it was because of his resistance to the Ohio Department of Rehabilitation and Correction's privatization of services through the company Jpay, about which this cantankerous jailhouse lawyer wrote an article about the f'd up relationship between private service providers and prison-crats. Now, North Carolina DPS is employing Gary C. Mohr, former ODRC head, as a consultant and since the move the NCDPS has instituted a more intense privatization and limitation of prisoners ability to receive money on their commissary via the 3rd party corporation Jpay. In response to the restrictions of materials people need in their day to day and the support they can receive from the outside (such as limitations to who can donate to a prisoner and what info they have to give up to Jpay to send material support) has created a powder keg of austerity and tension in the NC system leading to a riot at Piedmont Correctional in mid April. Sean sees reflection of the impacts that Mohr and JPay had in Ohio and what appears to be happening with the same techno-logic in NC. A recent protest took place in the neighborhood of NC Prison Director Kenneth Lassiter and keep an eye out for more, deepening protest and organizing around this issue in NC. Of note, the latest episode of Trouble from sub.Media, features Sean talking about mass incarceration and capitalism in the U.S., echoing some of what he says in this week's episode of our show. Jackie Wang, author of Carceral Capitalism (a really great Materialist approach to looking at racialized mass incarceration in the U.S.), along with Sean, “C” from Hamilton, Sylvie and El Jones talk about the prison industrial complexes in the so-called U.S. & Canada. Really worth a watch. Documentarian John Rash starts at 22:04 In the interests of a headsup, the next segment includes a couple of white folks using an out of date term that could be considered racist. The word is in the title of a documentary film about a band by the same name, and the name is said in the spirit of helping folks more easily access the material. The band has an all Black lineup and is called Negro Terror. John Rash is a documentarian with the Southern Documentary Project who for most of the hour shares about his recent film, entitled "Negro Terror". The film follows the punk oi band from Memphis by the same name and it's three members, Ricardo Fields, Omar Higgins and Ra'id as they play around Memphis, supporting various music scenes, speaking about their project and communities. Omar, the lead singer and bassist, came up as a SHARP (Skinhead Against Racial Prejudice) between Brooklyn, NY, and Memphis, TN, and brings the skinhead approach to the music. Omar Higgins died, tragically, at the age of 38 a few weeks ago and his funeral makes it into the film. John Rash, along with Ricardo (or Rico) and Ra'id, the remaining bandmates, are now touring with this innovative film and engaging audiences in q&a sessions. After this broadcast, you can still catch the presentation in Durham at North Star Church of the Arts on Sunday, May 12th and at Fleetwoods in Asheville on Monday, May 13th (which is tomorrow as of the first broadcast of this show) for two showings, 6:30 and 8:00pm followed by that aforementioned q&a with Rico, Ra'id and John. Proceeds from the merch sales on this short tour and from the entrance to showings is contributing to covering Omar's medical and funeral funds that currently are hanging over the family. Donations can be made at supportomar.com. While this tour is short running, John hopes to show it at various film festivals, so if you're putting on such a thing or have such influence, consider contacting John and Southern Documentary Project to make that happen. If you can't see it on this tour, at some point it'll be available in full for free at southdocs.org. Once they release their final album, Paranoia, there's a chance the film will be available for free on the CD alongside the audio, so keep an eye out. . ... . .. Music in order of appearance: Ras Michael & the Sons of Negus with Jazzboe Abubaka Vulgar & Bored with SETH Negro Terror with Voice of Memphis

K.C. Bailey of Owens Community College and Colin Doolittle of Northwest State Community College sit down for a round to talk education, opportunities, and resources available to help our community make the most they can of the current economic upswing.

Gary Troxel & The Fleetwoods are one of the many groups coming to perform as part of the Golden Oldies Spectacular on March 2! Gary Troxel joins us to chat about what is was like when the group got started (before Elvis!) and what influenced him in starting this group.

Show 37, “Platters Fleetwoods,” focuses on recordings by The Platters and The Fleetwoods, two influential vocal groups in the 1950s. Songs by The Fleetwoods include “I’m Mr. Blue,” “Come Softly to Me,” “The Great Imposter,”... Read More The post Episode 37, “Platters and Fleetwoods” appeared first on Sam Waldron.

Laurie Harding pickles her memories of the Texas Fleetwoods summer visits to Grandma Opals

Show 22, “Best of “45 RPM”, revisits 16 of Sam Waldron’s favorite recordings from the first 20 shows in the program. Performers include Glenn Miller, Mel Torme, The Skyliners, The Fleetwoods, Matt Monroe, Helen Forrest,... Read More The post Episode 22- Best of 45RPM appeared first on Sam Waldron.

Mentioned: #skinnydipping #GeorgiaTheatre #AthensGeorgia #Asheville #WestAsheville #WarrenHaynes #Bonnaroo #trustafarian #originallonghairs #mural #muralpainting #Fleetwoods #gratefuldead #halloween #longfriendship #orchestra #WNCW #Beechamscurve #thelate60sinAsheville

Mentioned: #ColonelBruceHampton #ColBruceHampton #ColBruceHamptonRetired #aquariumrescueunit #FSU #FSUVSMIAMI #CanesNoles #cycling #bicycles #bikeracestumbling #Tallahassee #carsvsbikes #fleetwoods #westasheville #asheville #gratefuldead #muralartist #atvaccident #muralart #CFL #Collegefootball #canes

For this May Day episode William had the chance to speak with Nutty, who has been holding down a monopod blockade which is blocking the construction of the Mountain Valley Pipeline in the renamed Hellbender Autonomous Zone. She has been without the ability to reup her food and water supplies for over 21 days due to cop and forest ranger interference. We get to speak about the monopod and her experiences participating in this struggle, as well as her views on resisting the MVP, some ideas on the future of this struggle, some actionable items, and direct asks for support. On the very first day of this blockade as some listeners will remember, Nutty's direct support was arrested while trying to explain the rigging of the blockade to the police. Monopods rely on a series of rigs to support a platform where resisters typically sit. The Mountain Valley Pipeline, which is a massive 303 mile proposal by the company Dominion Resources in partnership with Duke Energy and Piedmont Natural Gas, is proposed to span land from northwestern West Virginia to southern Virginia and would disrupt and destroy countless habitats and complex interconnected water supplies, as well as the human communities it would likewise destroy. To hear an in depth podcast about this issue, I recommend End of the Line broadcasting out of Richmond, which you can find at http://pipelinepodcast.org/ and on https://soundcloud.com/pipelinepodcast/ Our guest will mention in the interview that the MVP's proposal just got amended to go through a 70 mile stretch of North Carolina. For those who are concerned by this, we'd recommend looking into the Atlantic Coast Pipeline which would span a 600 mile track of land over WV VA and NC. Opposition to this pipeline is already gaining steam, so keep an eye on your favorite news sources for updates on that. To donate to bit.ly/supportmvpresistance and to get in touch with them you can write to appalachiansagainstpipelines@protonmail.com . … . .. Next up is a conversation Bursts had with two community organizers in Sonoma County, California, named Sebastían and Mara. These two folks do organizing around immigrant communities and are helping to organize May Day festivities in Santa Rosa this year. Sebastían and Mara share about past years organizing around May Day, immigrant struggles against ICE and community efforts in the follow up to the devestating fires that raged through Northern California last year. Mara also shares about last year's workplace organizing initiatives of Sonoma County waste workers that won them a contract, agricultural workers who won a contract from Gallo Sonoma Vinyard, and current struggles of employees at the Hyatt Vinyard Creek Santa Rosa. Sebastían also talks about the student walkouts he helped to organize on March 5th and plans for similar walkouts on May Day alongside the “Day Without An Immigrant.” . … . .. Finally, we'll hear from Jack and Quinn, two local Wobblies helping to plan a May Day rally and march in Asheville meeting at 4pm at Pritchard Park in downtown. Later that evening Blue Ridge Anarchist Black Cross will be hosting a benefit concert at Fleetwoods on Haywood rd in West Asheville. The show starts at 8pm and will feature the music of Poor Excuse, WRHCKD, Earth Collider & Nomadic War Machine and the moneys will go to the local efforts to release black mothers from the Buncombe County Jail via the Black Mama Bail Fund effort on May 10th. More info on Black Mama Bail Out at https://nomoremoneybail.org/ For a longer version of the chat with the Asheville Wobblies, check out the podcast version. There you'll also find announcements about Herman Bell and Mumia Abu-Jamal. If you care to, you can send us a letter at our new address: The Final Straw P.O. Box 6004 Asheville, NC 28816 There is no Sean Swain segment this week due to scheduling errors on our part, but don't worry we promise to have him back on next week's episode. If you miss the sound of his voice, you can his website, SeanSwain.org and easily find his segments going back to 2014. Announcements: Herman Bell leaves prison!!!: We're happy to announce that former Black Panther, BLA soldier and elder Herman Bell walked free from prison this week. From his support crew: On Friday, April 27th, Herman Bell, a 70-year old respected elder, was released after serving nearly 45 years in prison. Herman was one of thousands of incarcerated older people who was repeatedly denied parole for over a decade after completing his minimum sentence. “His release is a result of important and urgent changes in the criminal legal system and parole regulations that are part of nationwide efforts to end mass incarceration. Let us hope that Herman's release brings inspiration for more change. “Herman is deeply humbled and grateful for the broad expressions of trust and support, but out of respect for the feelings of the victims' families, he will not be making any public statements. We welcome him home. And so do we at The Final Straw. Pack The Courtroom for Mumia: In other political prisoner news, Mumia Abu-Jamal has a court appearance tomorrow, April 30th in Philadelphia and his support crew is asking folks in the area to show up and pack the courthouse. Show up in courtroom attire to support Mumia at 8am at room 1108, Criminal Justice Center at 13th and Filbert St in Philadelphia. In this hearing the Judge will consider the argument that former PA Supreme Court Judge Castille should have recused himself from considering Mumia's appeal because Castille had been working with the Philly DA's office at the time of Mumia's prosecution and during later appeals. A similar situation was deemed unconstitutional in the U.S. Supreme Court in the 2016 Williams v. Pennsylvania. There is also a call for supporters of Mumia to call current Philly DA Larry Krasner and request that he release the files on Mumia from the Philadelphia District Attorney office and Philadelphia Police Department. You can call Larry Krasner at 215-686-8000. More ideas of how to help out Mumia can be found at mobilization4mumia.com. Correction from the scott crow interview from Bursts: On last week's episode of our show, in which I interviewed scott crow about his new book “Setting Sites”, I asked a question about toxic masculinity and gun culture by using the term “male socialized” to describe men. I misspoke. What I meant to communicate in the question was masculine expectation and performativity and not to lump people who've been coercively assigned male by society based on a doctor's childhood assessment. I should have said “men”. Sorry for the misspeak and thanks to the folks who gave us feedback. . … . .. Playlist here.

Good guys countdown featuring the hits and misses of the Seatle-based label called Dolton, providing large-scale pop oldies output from the Fleetwoods, The Ventures, Vic Dana and the Frantics.

Show 11, “Music of Hoagy Carmichael,” includes 14 songs he wrote, from everlasting hits like “Stardust” to obscure-but-fun items like “When Love Goes Wrong.” Performers include Mildred Bailey, The Fleetwoods, The Four Preps, Julie London,... Read More The post Episode 11- Hoagy Carmichael appeared first on Sam Waldron.

No Fences by Garth Brooks. Cameron and Nathan discuss Garth Brook’s second album, No Fences. Garth’s biggest-selling album, No Fences is a solid improvement on his self-titled. Learnin’ Links: No Fences Country and Western music in a Boston accent at Faneuil Hall Roscoe Holcomb Poe’s Law The Fleetwoods’ version of “Mr. Blue” countrygenius.com Support us by buying No Fences on Amazon at: http://amzn.to/2xbsbFO.

Episode 26 of the Toledo Matters Podcast – David Mann, President of the Lucas County Land Bank ——————————————————— With Bob Tucker, Danny Woodcock, & Nathan Lewis ——————————————————— What’s Happening in the 419: Tonight – Thursday August 18th EPIC Toledo is hosting their monthly Social at Fleetwoods. Join the areas premier young professionals group for a night of laughs, socializing, and cocktails. Event starts at :530, more info at epictoledo.com Startup Toledo is hosting their August Gathering at Central Classic Cars & Genius Garage and throughout the night they will be raffling off a ride in these bad boys: 1969 Jaguar XK-E, 1965 Ford GT40 replica, and a 1996 Caterham Lotus Super 7. If you’re interested in startups, entrepreneurship, innovation, or just the raddest classic cars – swing by Central Classic Cars & Genius Garage tonight at 6:30. More at StartupToledo.com Friday – August 19th One of Toledo’s biggest throwback parties of the year – the 80s Explosion Costume and Dance Party is popping off at 8pm at Centennial Terrace. Dancers will be boogying till midnight so dust off the roller skates and bell bottoms for a night of fun. 33rd Annual NW Ohio Rib Off taking place in the Lucas County Fairgrounds all weekend long! Come through for the ribs, stay for the rock shows! A portion of the proceeds will be benefiting Veterans Matter. Saturday – August 20th, along with the Rib Off 42nd Annual Birmingham Ethnical Festival – a celebration of the community’s long standing heritage. Ethnic foods, arts and crafts, and a plethora of music and dances to be had. Checkout birminghamethnicfestical.wordpress.com for more info. The Andrew Gulch Memorial Golf/Hockey Outing is a fundraiser for the Muscular Dystrophy Association. Current Toledo Wallaye and Former Toledo Storm/Goaldigger alumni are available to play in your foursome. and there’s even in a mini golf course that’s more your style! ——————————– Today’s Guests: *** David Mann *** * President of Lucas County Land Bank * Secretary, Lucas County Democratic Party Favorite hidden gem in Toledo: Toledo Repertoire Theatre – www.toledorep.com Toledo Trivia Q1: Where was the first Land Bank created? Q2: In 2009, the Dept. of Housing and Urban Development, a.k.a. “HUD,” issued a report embracing Land Banks as a best practices model for municipalities dealing with the effects of the real estate market collapse and the foreclosure crisis. Who is the current U.S. Secretary of Housing and Urban Development? Q3: Where does Lucas County’s name come from? Bonus: The Toledo Mud Hens didn’t always play downtown! Previously, they were hosted at Ned Skeldon Stadium in Maumee. Since the Hens have come downtown we’ve had a massive resurgence in entertainment! What year did Fifth Third Field Open its doors? **Royalty music provided by Bensound

July 2010 - We are on the road to Du Quoin, IL and the 2nd annual Fleetwood Rally. Peg speaks to Lenny Razo of Fleetwood RV about the new Discovery coach and Fleetwoods success. We have an excerpt from Fleetwood CEO John Draheim's presentation at the rally. Peg makes a tasty Snickers Salad.

July 2010 - We are on the road to Du Quoin, IL and the 2nd annual Fleetwood Rally. Peg speaks to Lenny Razo of Fleetwood RV about the new Discovery coach and Fleetwoods success. We have an excerpt from Fleetwood CEO John Draheim's presentation at the rally. Peg makes a tasty Snickers Salad.

July 2010 - We are on the road to Du Quoin, IL and the 2nd annual Fleetwood Rally. Peg speaks to Lenny Razo of Fleetwood RV about the new Discovery coach and Fleetwoods success. We have an excerpt from Fleetwood CEO John Draheim's presentation at the rally. Peg makes a tasty Snickers Salad.