Podcasts about Forever Changes

(S4 Ep 20)  Love -Forever Changes (Electra)Released Nov 1967- Recorded June 9-Sept 25 1967 Love's Forever Changes, released in 1967, is a psychedelic rock masterpiece and one of the most hauntingly beautiful albums of its era. Fronted by Arthur Lee, Love was a groundbreaking, racially integrated band that fused folk-rock, orchestral pop, and surreal lyricism. Though not a commercial hit at the time, Forever Changes later earned acclaim for its lush arrangements, introspective themes, and emotional depth. Songs like “Alone Again Or” and “You Set the Scene” highlight the album's fusion of poetic melancholy and orchestral grandeur. Recorded during a period of personal turmoil and cultural upheaval, it captures both the hope and anxiety of the late 1960s. Internal conflicts and drug use soon fractured the band, but the album's legacy endured, eventually earning recognition from the Grammy Hall of Fame and the Library of Congress. Forever Changes stands as a timeless artistic statement and a high point of the psychedelic era.Signature Songs Alone Again Or    “Maybe the People Would Be the Times or Between Clark and Hilldale”.   Live and Let Live Full Album  YouTube   Spotify Playlist YouTube  Spotify

On this week's episode, we are joined by Johnny Echols, who was part of one of the greatest bands of all time, the 60's band Love. We are also joined by Mike Randle, co-founder of the band Baby Lemonade and Love w/ Johhny Echols, who, alongside Love singer/songwriter Arthur Lee & Echols, helped find new audiences for Love's music before Arthur died in 2006. We discuss how for a long time the music documentary Love Story was the only way to glean information about the mysterious band, how Johnny and Arthur originally met, Arthur's (and Love's) ability to create larger-than-life myths within their legacy, their disappointment with Elektra Records, the pros and cons of being a band in L.A., how playing in cavernous rooms on the Sunset Strip helped inform the sound of their first LP, how Arthur described the music in his head to the band, how Echols transformed Love's classic ‘7 and 7 Is' from an acoustic ballad to a punk classic, Arthur being backed by The Knack, the creation of their seminal classic album Forever Changes and how Mike got Arthur to revisit the album long after he had written it off, how Forever Changes was intended to be a double album with Neil Young producing, why the original members left the band, how Johnny was only 19 when the band was breaking up, recording their last single, the fight between Courtney Love and Slyvetster Stallone at a Love show and much more.So Oop-ip-ip oop-ip-ip yeah on this week's episode of Revolutions Per Movie!!! LOVE WITH JOHNNY ECHOLS: https://lovewithjohnnyechols.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Among the walnut shells, wrapping paper, dried tangerine peel and broken toys beneath the Christmas Tree Of News we found a few unopened presents, among them … … Marine Homicide Unit solving murders in Scottish waters or former rock star dumping toxic waste? A crime drama Stackwaddy special. … Roy Bittan, Duke Ellington: how musical “professors” date back to ragtime. …'Suzanne' and the other three songs Leonard Cohen gave away. … Mary Martin, unsung connector and catalyst of folk-rock. … how the spare, monochrome simplicity of John Wesley Harding flew against the prevailing wind of Disraeli Gears, Forever Changes and Magical Mystery Tour. … “I'd rather be dead than wet my bed”. … the invention of the “blockbuster album”. … she's only human: what Judy Collins thought when she met Leonard Cohen. … Crowded House, John Fogerty, Ry Cooder, Ian Broudie, Patti Smith … when did having your kids in your band become almost compulsory? … producer Richard Perry's journey from Beefheart to the “surrealistic vaudeville” of Tiny Tim to the pure genius of ‘You're So Vain'. Plus a rare moment - something David Hepworth doesn't know! - and birthday guest Sandra Austin.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreator Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Among the walnut shells, wrapping paper, dried tangerine peel and broken toys beneath the Christmas Tree Of News we found a few unopened presents, among them … … Marine Homicide Unit solving murders in Scottish waters or former rock star dumping toxic waste? A crime drama Stackwaddy special. … Roy Bittan, Duke Ellington: how musical “professors” date back to ragtime. …'Suzanne' and the other three songs Leonard Cohen gave away. … Mary Martin, unsung connector and catalyst of folk-rock. … how the spare, monochrome simplicity of John Wesley Harding flew against the prevailing wind of Disraeli Gears, Forever Changes and Magical Mystery Tour. … “I'd rather be dead than wet my bed”. … the invention of the “blockbuster album”. … she's only human: what Judy Collins thought when she met Leonard Cohen. … Crowded House, John Fogerty, Ry Cooder, Ian Broudie, Patti Smith … when did having your kids in your band become almost compulsory? … producer Richard Perry's journey from Beefheart to the “surrealistic vaudeville” of Tiny Tim to the pure genius of ‘You're So Vain'. Plus a rare moment - something David Hepworth doesn't know! - and birthday guest Sandra Austin.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreator Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Among the walnut shells, wrapping paper, dried tangerine peel and broken toys beneath the Christmas Tree Of News we found a few unopened presents, among them … … Marine Homicide Unit solving murders in Scottish waters or former rock star dumping toxic waste? A crime drama Stackwaddy special. … Roy Bittan, Duke Ellington: how musical “professors” date back to ragtime. …'Suzanne' and the other three songs Leonard Cohen gave away. … Mary Martin, unsung connector and catalyst of folk-rock. … how the spare, monochrome simplicity of John Wesley Harding flew against the prevailing wind of Disraeli Gears, Forever Changes and Magical Mystery Tour. … “I'd rather be dead than wet my bed”. … the invention of the “blockbuster album”. … she's only human: what Judy Collins thought when she met Leonard Cohen. … Crowded House, John Fogerty, Ry Cooder, Ian Broudie, Patti Smith … when did having your kids in your band become almost compulsory? … producer Richard Perry's journey from Beefheart to the “surrealistic vaudeville” of Tiny Tim to the pure genius of ‘You're So Vain'. Plus a rare moment - something David Hepworth doesn't know! - and birthday guest Sandra Austin.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreator Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Love - Forever Changes  Подкаст про третий студийный альбом калифорнийской группы Love, релиз которого состоялся 1 ноября 1967 года. По мнению многих слушателей и критиков, данная запись — веха в развитии психоделического рока. В 2011 году альбом был включён в Национальный реестр аудиозаписей США.     Подкаст категории «18+» Приятного прослушивания и ставьте оценки! Если подписаться на подкаст и сделать репост выпуска, то «A House Is Not a Motel» и там может жить «Old Man» и у него будет «The Red Telephone». И благодаря тому что он «The Good Humor Man He Sees Everything Like This», а это значит то что «You Set the Scene» вокруг себя. Ссылки для прослушивания:Apple Podcast:Яндекс:Звук:Mave:Слушать в ВК:Наш Telegram:https://t.me/mousepodcastГруппа в VK:https://vk.com/public216420089

Love's official biographer John Einarson tells David Hepworth the star-crossed tale of the band who made the least psychedelic album of the psychedelic era. Their conversation takes in:….Lee's growing up between Memphis and L.A., dealing with the problems of looking more like Johnny Mathis than Otis Redding.….how being indulged as a youngster by his family made him a tyrant as a band leader.….growing up with a prodigious musical talent but without the mastery of a single instrument.….refusing to put up with the inconvenience of touring and bearing personal grudges which prevented him taking up life-changing offers.….their competition with The Doors, who would do all the things that Love wouldn't.…how Arthur Lee heard Forever Changes in his head and how he transferred that knowledge to an arranger who'd never heard a pop record.….why Brian Wilson, John Sebastian and Arthur Lee “never got past 1967”.….the gun charges that put Arthur Lee in jail and the third act he enjoyed when he came out.You can order the book here: https://www.amazon.co.uk/Forever-Changes-Authorized-Biography-Arthur/dp/1916829120/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Love's official biographer John Einarson tells David Hepworth the star-crossed tale of the band who made the least psychedelic album of the psychedelic era. Their conversation takes in:….Lee's growing up between Memphis and L.A., dealing with the problems of looking more like Johnny Mathis than Otis Redding.….how being indulged as a youngster by his family made him a tyrant as a band leader.….growing up with a prodigious musical talent but without the mastery of a single instrument.….refusing to put up with the inconvenience of touring and bearing personal grudges which prevented him taking up life-changing offers.….their competition with The Doors, who would do all the things that Love wouldn't.…how Arthur Lee heard Forever Changes in his head and how he transferred that knowledge to an arranger who'd never heard a pop record.….why Brian Wilson, John Sebastian and Arthur Lee “never got past 1967”.….the gun charges that put Arthur Lee in jail and the third act he enjoyed when he came out.You can order the book here: https://www.amazon.co.uk/Forever-Changes-Authorized-Biography-Arthur/dp/1916829120/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Love's official biographer John Einarson tells David Hepworth the star-crossed tale of the band who made the least psychedelic album of the psychedelic era. Their conversation takes in:….Lee's growing up between Memphis and L.A., dealing with the problems of looking more like Johnny Mathis than Otis Redding.….how being indulged as a youngster by his family made him a tyrant as a band leader.….growing up with a prodigious musical talent but without the mastery of a single instrument.….refusing to put up with the inconvenience of touring and bearing personal grudges which prevented him taking up life-changing offers.….their competition with The Doors, who would do all the things that Love wouldn't.…how Arthur Lee heard Forever Changes in his head and how he transferred that knowledge to an arranger who'd never heard a pop record.….why Brian Wilson, John Sebastian and Arthur Lee “never got past 1967”.….the gun charges that put Arthur Lee in jail and the third act he enjoyed when he came out.You can order the book here: https://www.amazon.co.uk/Forever-Changes-Authorized-Biography-Arthur/dp/1916829120/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Send us a Text Message.Singles Going Around- Forever ChangesThe Raconteurs- "A House Is Not A Motel"The Go- "Summer Sun Blues"Jack White- "Ice Station Zebra"The Henchmen- "Psycho Daises"The 5.6.7.8's- "Great Balls Of Fire"The Dead Weather- "A Child Of A Few Hours Is Burning To Death"Jack White- "Don't Hurt Yourself/Ball & Biscuit/Jesus Is Coming Soon"Two Star Tabernacle- "Itchy"The Raconteurs- "Sunday Driver" (Vault 45)Jack White & The Bricks- "I Can't Wait"The White Stripes- "Cannon/John The Revelator/Grinnin In Your Face" (Gold Dollar III)Jack White- "What's The Trick"The Go- "Meet Me At The Movies" (Demo)Two Star Tabernacle & Andre Williams- "The Big Three Killed My Baby"The Henchmen- "Some Other Guy"Jack White- "Hi-De-Ho"The Go- "But You Don't Know"

Se eravate a Los Angeles in qualsiasi momento dell'estate del 1966, sicutamente vi sareste imbattuti in Arthur Lee. Girava indossando giacche di pelle di daino con frange, sciarpe di seta, occhiali da sole triangolari e stivali da cowboy. Appena 21enne, era il re indiscusso del Sunset Strip: arrogante e bello, Lee e la sua band, i Love, stavano contribuendo a inaugurare un'era completamente nuova della musica californiana. 

Bruce Botnick engineered the first five Doors studio albums and produced the last one that featured Jim Morrison, L.A. Woman. He also co-produced Forever Changes, the brilliant 1967 album from Doors' L.A. contemporaries Love, and engineered some of the Beach Boys' Pet Sounds. Botnick continues working on Doors releases, including Rhino's new Record Store Day entry Live at Konserthuset, Stockholm, September 20, 1968. He tells of how these performances, which feature the Doors at peak power, were recorded and recently discovered. He also reflects on the band's dynamic, the reason the album version of "Light My Fire" is slow and flat, what prompted producer Paul Rothchild to leave the L.A. Woman sessions and the contrasting approach that Botnick took on the project. What was it like working with such unpredictable geniuses as Morrison, Arthur Lee (Love) and Brian Wilson?

To be or not to be the best podcast about Love, and the 180th greatest album of all time, Forever Changes...that is the question.    Before we answer that question we turn this double-stuffed episode into a mega-stuffed episode when we plead fifth to a voicemail about Viagra. We also discuss the virtue of cleaning your hot sauce bottles, couples retreats, and the best movies about bands. Just like the Droids at the Carnival Court in Vegas, this podcast is wack as hell.    Then at (1:00:00), we set the scene for the rock band Love's 1968 album, Forever Changes. We discuss contemporary bands from the late '60s, Arthur Lee's influence on the band, and the best songs about the ice cream man. _   This episode is all over now, baby blue. But next week we're taking the show on the road again when we become the best Bob Dylan podcast and cover Dylan's folk rock album, Bringing it All Back Home.     

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

We're here this week to be your accountability buddy. We're also here to be the best podcast about the Notorious B.I.G. and the 179th greatest album of all time, Life After Death.   But before we hypnotize you with our music knowledge we take a voicemail about getting on the wrong flight, how would you handle it? We also chat about selecting your birthday dinner location, things our parents have started doing, and how many titles Scottie Pippen's ex-wife and Michael Jordan's son have won. We're not here to judge, just to enjoy the flavors.   Then at (56:00) I got a story to tell when we discuss the Notorious B.I.G.'s final studio album, Life After Death. We talk about Puff Daddy's influence on the album and the Shiny Suit era, Tupac's All Eyez on Me, and the best posthumous albums of all time.   Call the Beck Line at 802 277 BECK and ask a question that will make us say funny things.    Next week's episode is sure to be a bummer in the summer when we become the best podcast about the band Love and cover their 1967 album Forever Changes.

THUNDER ROAD (THE WORK IN PROGRESS- ORIGINAL ACOUSTIC TAKE)THE HEIST (FIRST TAKE OF THE WORK COMPLETED AS  "MEETING ACROSS THE RIVER"BORN TO RUN (ALTERNATIVE TAKE)BACKSTREETS (ALTERNATIVE TAKE)LOVERS IN THE COLD  (DID NOT MAKE THE CUT FOR THE ALBUM)A LOVE SO FINE  (DID NOT MAKE THE CUT FOR THE ALBUM)JUNGLELAND (REHEARSAL)I was a possessive motherfucker when it came to The Boss (he wasn't “The Boss” yet; he was just a skinny, scruffy Pub-Rocker Poet).  I discovered him early on, when I bought Greetings From Asbury Park on a whim, and I was so proud because I was able to spread the Gospel of Bruce to Rich, in return for the revelations of Astral Weeks and Love's Forever Changes, among many others. I saw him at Max's Kansas City, with Bob Marley opening; We trekked out to Roslyn to see him at My Father's Place, with a crowd so small we were able to stand at his feet in front of the stage; We saw him introduce Born to Run at the Bottom Line, just before the megaton explosion of fame; and finally, the last time was at The Palladium when he had just made the covers of Time and Newsweek simultaneously - which he name checked in the song Rosalita, while the crowd screamed.At that moment I knew the romance was over. I couldn't bring myself to see him in a stadium. I still bought the records up until The River, but I mourned the loss of my private knowledge. The entire world would soon line up to anoint him. Here is a treat for Springsteen fans from the Born to Run Outtakes archives. It's fun to hear the Easter eggs hidden throughout these cuts as Bruce works out the arrangements that would eventually make it on to the final master. Enjoy!

From Liverpool with Love! MOJO's Album Of The Year winner Michael Head joins Andrew Male to reveal how Forever Changes forever changed Shack, The Pale Fountains and The Red Elastic Band. Plus Iggy Pop, Jeff Parker, Miles & Gil, Matt Monro and, as usual, much more. Tracklisting: 1. Fluke, song and lyrics by Michael Head & The Red Elastic Band, from Dear Scott on the Modern Sky UK label 2. A House Is Not A Motel written by Arthur Lee, performed by Michael Head & The Red Elastic Band, from Dear Scott on the Modern Sky UK label 3. Strung Out Johnny, written by Iggy Pop, Andrew Watt, Chad Smith, and Josh Klinghoffer from the new Iggy album Every Loser, released on Atlantic/Gold Tooth records 4. “2019-07-08 II”, composed By Anna Butterss, Jay Bellerose, Jeff Parker, and Josh Johnson from Jeff Parker's Mondays At The Enfield Tennis Academy, on Eremite Records

Recent reviews of the new album by acoustic-led psych folk band The Clientele and the paranoid existential post Vietnam fever dream film Jacob's Ladder, both led me back to one of my favorite albums of all time. Impossibly predicting the fall out of and come down from the summer of love, whilst in the middle of it in 1967, the LA band Love created a twitching, dread-fueled, schizophrenic masterpiece of incredible songwriting, mind-blowing arrangements, incredible lyrics and existential dread.

The Los Angeles-based Love had one of the rock's great first-three-album progressions, culminating in the 1967 masterwork Forever Changes, before leader Arthur Lee started over with an entirely new band. Johnny Echols, Love's lead guitarist for that classic stretch, had known the enigmatic Lee since they were kids in Memphis who relocated to L.A.,, where Echols played with Billy Preston and backed Little Richard. Love, a rare interracial rock band, debuted with an energetic reworking of Burt Bacharach and Hal David's “My Little Red Book." The explosive single “7 and 7 Is,” the brilliant, jazzy second album, Da Capo, and the darkly beautiful, acoustic-orchestral Forever Changes followed. Why did Love wind up in the Doors' shadow? Why didn't Love tour much? Why were session musicians brought in to start Forever Changes? What role did drugs play in the band's troubles? How did Echols reunite with Lee in the early 2000s and continue playing Love songs after Lee died of leukemia in 2006? Echols sets the scene.

This week on Classic Vinyl Podcast, Justin and Tyler have special guest host Austin join them to review the Los Angeles rock band Love's third studio album Forever Changes. Although not a commercial success, this album has gained popularity over the years, and is now considered one of the great albums to come out of the decade. Give Forever Changes a listen and let us know what you think. Classic Vinyl Podcast Website https://classicvinlylpodcast.podbean.com/ Support our podcast and buy us a beer https://www.buymeacoffee.com/classicvinylpod

Moving things around, The Omega Factor, Sir Michael’s Hand-feet, imaginary friends, Love's Forever Changes, Little and Large, Tina Turner, Philip Schofield, Francoisę Hardy and Lord Paul gives his opinion on Mizzy.

This week, hosts Jim DeRogatis and Greg Kot talk with director Mary Harron about her films American Psycho, I Shot Andy Warhol, Charlie Says and her latest, Dalíland. They discuss her excellent use of music in her movies over the years, her start as a punk rock journalist and more. Plus, Jim and Greg review the latest album from The National.   Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Phil Collins, "Sussudio," No Jacket Required, Atlantic, 1985The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967The National, "The Alcott (feat. Taylor Swift)," First Two Pages of Frankenstein, 4AD, 2023The National, "Eucalyptus," First Two Pages of Frankenstein, 4AD, 2023The National, "This Isn't Helping (feat. Phoebe Bridgers)," First Two Pages of Frankenstein, 4AD, 2023The National, "Tropic Morning News," First Two Pages of Frankenstein, 4AD, 2023Ramones, "Now I Wanna Sniff Some Glue," Ramones, Sire, 1976Steve Harley & Cockney Rebel, "Make Me Smile (Come Up and See Me)," The Best Years of Our Lives, EMI, 1975Cockney Rebel, "Tumbling Down," The Psychomodo, EMI, 1974Roxy Music, "Do the Strand," For Your Pleasure, Warner, 1973Luna, "Season of the Witch," Season of the Witch (Single), Beggars Banquet, 1996Love, "A House Is Not a Motel," Forever Changes, Elektra, 1967R.E.M., "It's the End of the World As We Know It (And I Feel Fine)," Document, I.R.S., 1987  Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

Oggi ci tuffiamo, alla ricerca di infedeltà, dritti nel 1967, quando un Arthur Lee, quanto mai dedito agli stupefacenti sfornò, insieme ai suoi Love, un mix di folk, psichedelia e atmosfere da spaghetti western, dando vita a quello che è considerato da molti uno dei migliori dischi rock di sempre.   Cosa succede quando un artista o una band decidono di reinventarsi? Vittorio ”Vikk” Papa (ideatore del sito www.orrorea33giri.com), Emanuele Pedretti e Beatrice Giachi ti accompagnano in un viaggio alla riscoperta di quei dischi di svolta, evoluzione o smarrimento. Info e contatti: Sito web: infedeliallalinea.it Instagram: instagram.com/infedeliallalinea_podcast Telegram: t.me/infedeliallalinea Proponi un disco: infedeliallalinea.it/proponi-un-disco/ Supportaci regalandoci un caffè o una birra: Ko-Fi   PayPal Infedeli alla linea podcast è una produzione indipendente. La sigla iniziale è un estratto del brano Jazz Hole dei Blue Wave Theory https://freemusicarchive.org/music/Blue_Wave_Theory

Esta semana, en Islas de Robinson, recibimos una visita que nos hace especial ilusión. Empeñados como estamos desde siempre en recordar que los clásicos no pasan de moda y que los que vienen siendo más jóvenes también tienen derecho a descubrirlos, conocerlos y disfrutarlos (a ser posible también vía Islas de Robinson), contamos con Pablo Sancho, Robinsón (que no náufrago), que a sus 15 años nos presenta una selección de aúpa de favoritos recién descubiertos (¡qué envidia!). Una conexión que, no sólo nos entusiasma, sino que también nos confirma que siempre hay esperanza y nos transporta al tiempo en el que nuestros tesoros relucían con brillo único... huella imborrable... ¡Bienvenido, Robinsón! ¡Salve! Suenan: THE DOORS - "L.A. WOMAN" ("L.A. WOMAN", 1971) / CANNED HEAT - "ON THE ROAD AGAIN" ("BOOGIE WITH CANNED HEAT", 1968) / CREAM - "I FEEL FREE" ("FRESH CREAM", 1966) / LOVE - "A HOUSE IS NOT A MOTEL" ("FOREVER CHANGES", 1967) / RODRIGUEZ - "CAUSE" ("COMING FROM REALITY", 1970) / THE BEACH BOYS - "GOD ONLY KNOWS" ("PET SOUNDS", 1966) / LED ZEPPELIN - "HEY HEY WHAT CAN I DO" (SINGLE 1970) / JIMI HENDRIX EXPERIENCE - "SGT. PEPPER'S LONELY HEARTS CLUB BAND" (DIRECTO EN ESTOCOLMO, 1967) / JEFFERSON AIRPLANE - "WHITE RABBIT" ("SURREALISTIC PILLOW", 1967) / JAMES BROWN AND THE FAMOUS FLAMES - "IT'S A MAN'S MAN'S MAN'S WORLD" (SINGLE, 1966) / Escuchar audio

Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comBuy a copy of Forever Changes through this link and help support the podcast!https://amzn.to/3E22uYELove was the hippest band on the Sunset Strip in mid-1960s, and Forever Changes was their magnum opus of baroque psychedelic pop. The gents discuss the Wrecking Crew, poets as lead singers, and late 1960s paranoia. Listen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/1SgkWNBFc4LQbr6DsltXm5?si=57673579a1ba4d12Listen to Forever Changes here:https://open.spotify.com/album/2amHBpP8C0EUy6yBNy6nN6?si=kTI5zsfGTCmT9rkgLf1dVgIntro music courtesy of The Beverly CrushersOutro music courtesy of MEGAFollow The Chop Unlimited's Spotify PlaylistFollow us on instagram @thechopunlimitedWe have Merch! T-Shirt #1 | T-Shirt #2Next week's album: Sam Cooke - Live at Harlem Square Club

In this classic caper, our heroes face their toughest challenge yet as they swoop into the post Sgt. Pepper's Summer of Love. They push past the Hippies, rage at the war in Vietnam, and deep dive into Love's ‘Forever Changes'Of course along the way the guys throw in their trademark, off the wall and “esoteric” humour and head off on wild tangents. Head over to www.asoundpurchase.com/shop to see our range of merchandise, we want to keep both the regular pod and bonus pods free of cost, and you can help that to continue by purchasing some of the mugs, hoodies or shirts we have on offer.Your support of this podcast is hugely appreciated, you have been vital to the sanity of our heroic podcast hosts. You can continue to show your support when you like us, review us, share us, and subscribe to us. Whilst you are at it, why don't you get a little something for yourself by becoming a ‘friend of the show'; you will gain instant access to exclusive bonus podcast episodes (like the famous full length interview with Miguelito from the Cuban Brothers), blog posts, and you can visit the hall of ‘top 10s'. We are also rolling out a monthly watch party that explores the entire filmography of the great Austrian Oak, Mr. Arnold Schwarzenegger. It won't cost you a penny to sign up, yet you gain so much! Sign up now at www.asoundpurchase.com/fots

Love was a groundbreaking interracial band that came out of LA in the mid-60s. They dominated the Sunset Strip with their psychedelic sound and rock 'n' roll style. And it's well documented that The Rolling Stones, Led Zeppelin and of course, The Doors, all found inspiration in Love's music. In this episode of My Rock Moment we sit down with Johnny Echols, co-founder and guitarist of the band. We discuss his early life as a musician, drawing inspiration from Little Richard, The Coasters and eventually, The Beatles. Johnny tells us about an encounter with Lou Adler and how it moved the band to change their name to Love. And he shares stories about Jimi Hendrix, Jim Morrison as well as the making of their seminal album, Forever Changes.To see Johnny Echols touring with the band Baby Lemonade check dates here: https://babylemonademusic.com/index.htmlCheck out videos of the Castle in Los Feliz on YouTube:Arthur Lee touring the Castle years ago: https://www.youtube.com/watch?v=J1jpoCnlk-8The Castle as it looks today: https://www.youtube.com/watch?v=LkxhFYldGOY&t=32sDon't forget to follow My Rock Moment on Instagram at @la_woman_rocks

The Los Angeles-based band reacted a little differently to the "Summer of Love" with their 1967 album, Forever Changes.

www.BrianWrightShow.comwww.WrightChat.comWant to increase sales, revenue and referrals, while reducing advertising costs? If yes, this podcast is for you. The Brian Wright Show is consistently rated the best entrepreneur podcast and dedicated to business owners, entrepreneurs, their employees and the family members of all the previously mentioned.  About your host:Brian Wright is an entrepreneur, business and life coach, leader, philanthropist and motivational speaker and business growth consultant for some of the finest companies in the world, such as AlignTechnology, The Makers of Invisalign. He has helped thousands of business owners increase sales revenue and referrals, while reducing advertising costs and other common headaches associated with owning a business. He  is trusted by some of the most well known entrepreneurs across the globe as their business and life coach as well as some of the most well known companies in the world. His life is dedicated to helping business owners, their employees and their family members thrive during any economy. Brian's company WrightChat has revolutionized the answering service industry and made all previous answering services obsolete. WrightChat is a revolutionary answering service that helps businesses solve missed incoming calls as new patients or new prospective customers no longer leave voicemails. They simply call another business and you lose out on the revenue and the referral stream that would have come from that new client or new patient. This cause millions in lost opportunities and why answering services that just take a message are obsolete in the new economy. new patient phone call answering service designed for the new economy where new patients no longer leave voicemails when you don't answer .... they simply call another practice and buy from them. This causes millions in lost opportunities for practices. Enter WrightChat. We make all answering services obsolete by answering your new patient phone calls or new prospective customer phone calls, remotely accessing your scheduling software and scheduling them as if we were sitting in your office as your own employee. We can either answer the new patient calls (new prospective customer calls) you miss or replace the need for you to hire, train, etc. by answering all of them. The process is seamless, the prospect has no idea it wasn't your business and our in-house IT team makes it easy on you as we use your phone system, your phone number and your scheduling/ management software. We also handle your live web chat and contact prospective customers that submit a contact submission on your website. to get them scheduled on behalf of your business. Our plug and play system instantly increases your new patients/new customers, sales and revenue, while reducing advertising costs, stress and other headaches associated with running a business.  WrightChat agents are trained by our Co-Founder, Brian Wright. He is a global speaker for Invisalign, OrthoFi, DentalMonitoring, Henry Schein and other well respected companies in orthodontics and dentistry. He is a renowned expert in sales, customer service, consumer. psychology, presentation skills and more. Once you hear our agents answer your new patient calls you will never want your own employees to answer one again! Our commitment to weekly trainings, intense role plays, culture building and the highest levels of accountability create exceptional employee performance that will grow your practice and simultaneously reduce your workload. Contact us today!

If you'd been hanging out in Los Angeles any time in the summer of 1966, there would have been a high chance of stumbling across Arthur Lee. He might have been wearing just one shoe, or swimming trunks; he'd almost certainly be peering over a pair of psychedelic sunglasses. But then Lee could do what the hell he wanted. Barely 21 years old, he was the undisputed King Of The Sunset Strip: the most arrogant, brown-eyed, handsome man in Hollyweird. Lee and his band, Love, were helping usher in a whole new era of Californian music.Sure, there were more commercially successful bands: The Byrds already had a run of hit singles and a European tour under their buckskin jackets by early '66, and Brian Wilson was taking the Beach Boys to new creative heights even as his psyche crumbled under the weight of it all. But neither had such a charismatic, striking frontman as Lee. A singer and multi-instrumentalist, he was a lightning rod for the denizens of the burgeoning West Coast underground. “He cut an imposing figure,” says Jimmy Greenspoon, a future member of Love's LA contemporaries Three Dog Night. “He had a mesmerising presence, a Pied Piper who would lead Love's audience to a different form of consciousness.”Love were the unsung heroes of the musical Big Bang that took place in 1966, although they have long been overshadowed by bands such as the Grateful Dead, Jefferson Airplane and especially one-time acolytes The Doors. If Love are remembered today, it's for their third album, 1967's Forever Changes, a masterpiece of baroque psychedelia. But a year before that, they blew a hurricane through Los Angeles. And Arthur Lee was at the eye of the storm.

On this episode we let you, our loyal listeners and fans, pick the album we reviewed. That's right, its our first "Listener's Choice!" and you all picked a doozy: Forever Changes by Love. Love's third album has come to be appreciated as a classic.  Released around the time of the "Summer of Love", the album's lyrics and themes are not the "peace and love" you'd expect. Rather they seem to dwell on the inevitability of breakdown those lofty ideals.Forever Changes is considered by many to be one of the greatest albums of the 1960s, and by some to be one of the greatest albums ever recorded. Regardless of whether you agree with that, there is no doubt that Forever Changes stands out as a truly unusual and unique artistic statement. 

In this episode, Callan talks about the hardships of relationships and dealing with death and life. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/callan-harrington/support

By popular demand, I have re-uploaded this episode of The 100 Greatest Albums series.Joining me on this episode is The Scarborough Dude. We are discussing an album that I never heard of before, but for my guest was a rite of passage in his life. It's a fascinating episode of storytelling and music. Download Album011.mp3

Vamos con la obra cumbre del pop rock psicodélico: el álbum de 1967 Forever Changes de la banda liderada por Arthur Lee, Love. Ricardo Portman nos cuenta su historia. Escucharemos Alone Again Or, A House Is Not a Motel, Andmoreagain, The Daily Planet, Old Man, The Red Telephone, Maybe the People Would Be the Times or Between Clark and Hilldale, Live and Let Live, The Good Humor Man He Sees Everything Like This, Bummer in the Summer y You Set the Scene + Bonus tracks (Your Mind and We Belong Together, Laughing Stock, Wonder People (I Do Wonder). Espacio patrocinado por varios oyentes anónimos... ¡GRACIAS! Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Today we're closing out Black Music Month by celebrating one of Rick Rubin's favorite albums of all time—Forever Changes by the band Love. Formed in 1965, Love was a groundbreaking, interracial L.A. group. While their name isn't usually mentioned alongside historic psychedelic bands like The Byrds or The Grateful Dead, Love's influence is vast. Their charismatic, fashion-forward black frontman, Arthur Lee, inspired Jimi Hendrix's look, and in the mid-60s Love was one of the hottest bands in Hollywood. In 1967 Love recorded their third album, Forever Changes. It was the last album for the original core group with guitarist Johnny Echols and co-writer Brian McClean. The album ushered in an entirely new sound for the band, combining Baroque sounding strings with horns and folky instrumentation with poetic lyrics. On today's episode we'll hear some of Rick Rubin's conversation with Detroit rapper Danny Brown, who like Rick, places Love's album Forever Changes at the very top of his greatest albums of all time list. Then, we'll hear Rick in conversation with Love's lead guitarist Johnny Echols about the intense turmoil surrounding the recording of Forever Changes. Echols—who grew up straddling both Black LA and the psychedelic strip—explains how Love was responsible for getting The Doors their record deal, only to be quickly overshadowed by The Doors mainstream success. Echols also recalls first meeting the Beatles when they were an opening act for Little Richard. Check out our playlist for this episode here! See omnystudio.com/listener for privacy information.

Episode Summary This week we are live! Sort of. We aren’t live for you, but we were in each other’s presence and recorded live with Rosemary in the Galaxy Brain studios in SF! And we talk about the 1967 Summer of Love! Sort of… Edited by Nat Show notes by Jesse Show Links Galaxy Brain studios Brain Tape “Friends with Burger-fits” – Bob’s Burgers – Wikipedia Ron Swanson’s Best Friend — Parks & Rec — YouTube Muir Woods THE EWOKS WERE NAMED AFTER THE NATIVE AMERICAN TRIBE MIWOK The Summer of Love – Wikipedia Long, hot summer of 1967 – Wikipedia Dot-com bubble – Wikipedia Why George Harrison asked Eric Clapton to perform on ‘While My Guitar Gently Weeps’ The mayor of SF in 1967; John F. Shelley – Wikipedia The CIA’s Secret Quest For Mind Control: Torture, LSD And A ‘Poisoner In Chief’ Expand Your Mind — How to Grow Psychedelic Mushrooms Using Uncle Ben's Rice “I’m shocked! Shocked! To find that gambling is going on in here!” – Casablanca – YouTube 27 Club – Wikipedia “Every day, somebody’s born who’s never seen The Flintstones” – or, why telling it once isn’t enough Maharishi Mahesh Yogi – Wikipedia “Forever Changes” by Love – Wikipedia State of Jefferson – Wikipedia This Woman Who Was Almost Part of the OG Destiny’s Child Lineup Just Auditioned on The Voice Jon Brion – Wikipedia Hellraiser Rights Return to Clive Barker in 2021 Picks Rosemary: “The Brass Tax” by Downward Nat: “Odessey and Oracle” by The Zombies Jesse: “Cruel Country” by Wilco (Recorded on Tuesday, May 31, 2022)

On an steamy September evening in South Carolina, Christina Custodio dropped her son off at his middle school football practice. Not long after, she received a call to pick him up and moments after arriving at the field, she knew something was terribly wrong. Christina found strength in the Lord and shares how even on that day when your life forever changes--God is still good. In this impactful and emotionally charged episode, we'll hear what happened on that day and the days to come. We also talk about Christina's book, When God Changed His Mind: A True Story of Trial, Triumph, and Finding Joy Beyond Circumstances, which chronicles the forty-four days she spent in the hospital with her son and beyond. I know what Christina has to share will encourage, inspire, and challenge you--so listen in while I have a chat with Christina Custodio. By The Way... Fierce Calling is on the Spark Network which can be found on the Edifi App! Fierce Calling is one of many Christian podcasts available on the Edifi app. To listen to this podcast and other amazing Christian podcasts, go to the Apple or Google Play stores and download the app today! Check out the book Boundaries: When to Say Yes, How to Say No to Take Control of Your Life Back by Henry Cloud and John Townsend. Favorite Quote from On That Day When Your Life Forever Changes--God Is Still Good "I just shared the nitty-gritty of it all and was very honest about my feelings--whether it was a good day or a bad day I didn't sugar-coat it--ya know, this day is bad, but God is still good." --Christina Custodio Connect with Christina! You can connect with Christina at christinacustodio.com and find her on Facebook and Instagram @christina_custodio. Grab her book mentioned in the show When God Changed His Mind: A True Story of Trial, Triumph, and Finding Joy Beyond Circumstances. More about Christina... Christina Custodio Christina Custodio is a wife of 22 years and a mother of three beautiful teenagers. She lives with her family in Greenville, South Carolina. She is also a teacher, speaker, author, photographer, and whatever she is called to be on any given day. Hers is a story of redemption. A story of faith amid crisis. A story of joy and hope. Let's Stay Connected! Scroll down and grab my free resources! When you do you will also receive a monthly newsletter with encouragement and great resources! Love Fierce Calling? By following, rating, and leaving a review over at Podchaser, Apple Podcasts, or wherever you listen to podcasts you can help others discover the show too! Do You Need a Speaker for Your Next Women's Event? Check out my speaking page, grab my flyer, and let's talk about me speaking at your next women's event... I love speaking God's truth into the lives of women! Free Gifts for You... Grab one of my free downloads by scrolling down to the bottom of the page! Love & God's Perfect Peace to You! Doris

RockerMike and Rob discuss Arthur Lee and Love. Arthur Taylor Lee was an American singer-songwriter who rose to fame as the leader of the Los Angeles rock band Love. Love's 1967 album Forever Changes was inducted into the Grammy Hall of Fame, and it is part of the National Recording Registry. Love is an American rock band formed in Los Angeles in 1965. Led by Arthur Lee, Love was one of the first racially diverse American rock bands. Their style, sometimes characterized as garage rock, folk rock, and psychedelic, drew from an eclectic range of sources including, blues, jazz, flamenco, and orchestral pop. https://open.spotify.com/artist/7sECLFfpeGHQYRH7Lvc9pA https://www.thisdayinmusic.com/stairway-to-heaven/arthur-lee/amp/ https://m.imdb.com/name/nm1411958/ #musicvideo #musicstudio #musiclover #musiclife #musicindustry #musiclovers #musiccover #musician #ramones #musicproducer #musicproduction #musicians #musicislife #musicartist #musicphotography #musicvideos #Music #Punk #drummer @drummers @spotify #80s #70s @80s @70s Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net https://8bcded2xph1jdsb8mqp8th3y0n.hop.clickbank.net/?cbpage=nb Subscribe to the channel and hit the like button --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

Sheletta can't even laugh about what she planned to talk about this week on her comedy podcast after she tells her producer Kerry about how watching the PBS documentary Fannie Lou's America changed her life forever.

Piping hot topics fondly booted round the park this week include … are any actors ever convincing when playing a famous rock star? Does it matter if movies “based on a true story” are largely fiction? Why David's never got on with Love's Forever Changes. Did Entertainment Weekly exist just to provide a pleasant lifestyle for the people who worked on it? Plus … the connection between Captain Beefheart and blue cheese, Eddie Izzard's drilling cats, memorable art theft, tambourine players in rock and another great story about ‘Under My Thumb' being played at a wedding reception. And birthday-partying patrons David Carroll and Adrian Ainsworth put their questions to the panel and flag up Japan and ‘Strange Kind of Love' by Love And Money.  Baz Luhrmann's Elvis …https://youtu.be/OWi2lFLe4Cg Inventing Anna …https://youtu.be/65xa8TG2G8oThe Duke …https://youtu.be/65xa8TG2G8oSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Piping hot topics fondly booted round the park this week include … are any actors ever convincing when playing a famous rock star? Does it matter if movies “based on a true story” are largely fiction? Why David's never got on with Love's Forever Changes. Did Entertainment Weekly exist just to provide a pleasant lifestyle for the people who worked on it? Plus … the connection between Captain Beefheart and blue cheese, Eddie Izzard's drilling cats, memorable art theft, tambourine players in rock and another great story about ‘Under My Thumb' being played at a wedding reception. And birthday-partying patrons David Carroll and Adrian Ainsworth put their questions to the panel and flag up Japan and ‘Strange Kind of Love' by Love And Money.  Baz Luhrmann's Elvis …https://youtu.be/OWi2lFLe4Cg Inventing Anna …https://youtu.be/65xa8TG2G8oThe Duke …https://youtu.be/65xa8TG2G8oSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Piping hot topics fondly booted round the park this week include … are any actors ever convincing when playing a famous rock star? Does it matter if movies “based on a true story” are largely fiction? Why David's never got on with Love's Forever Changes. Did Entertainment Weekly exist just to provide a pleasant lifestyle for the people who worked on it? Plus … the connection between Captain Beefheart and blue cheese, Eddie Izzard's drilling cats, memorable art theft, tambourine players in rock and another great story about ‘Under My Thumb' being played at a wedding reception. And birthday-partying patrons David Carroll and Adrian Ainsworth put their questions to the panel and flag up Japan and ‘Strange Kind of Love' by Love And Money.  Baz Luhrmann's Elvis …https://youtu.be/OWi2lFLe4Cg Inventing Anna …https://youtu.be/65xa8TG2G8oThe Duke …https://youtu.be/65xa8TG2G8oSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

"CAPTAIN BILLY’S MAGIC 8 BALL" - - EPISODE # 33 - "PERFECTION, CURDLED" - FEATURING THE ALBUM " FOREVER CHANGES" By LOVE IN HIGH DEFINITION WITH NARRATIVE BY CAPTAIN BILLY.

In their second 'deep dive' episode on a highly influential album, Andrew and Iain discuss the seminal rock record 'Forever Changes' by Love. We get into why it is considered such an important record, both for us and rock music in general, and why it might not be the flower power, psych trip out its painted to be by the music press.Please continue to support us on Instagram - write to us, review to us, subscribe! We love your feedback.Support the show (https://www.buymeacoffee.com/weheardwonders)

"So I'll start by saying these tracks are not really about love. They're about the love that I have for the tracks and memories from times of love. I can explain..." Alone Again Or - Love (1967) > This is the title track from one of my favourite albums ever (Forever Changes). Good way to start a mix I think. December Angel - Syrinx (1970) > Got deep into this around a time of my life that I look back on very fondly. Boadicea - Enya (1986) > I just really love Enya. I wrote her name in white-out on my school bag in year 8. Rachel's Song - Vangelis (1994) > This one's from Blade Runner. It gives me goosebumps. Doina Lui Petru Unc (Alternate) - Gheorghe Zampfir (1976) > The haunting theme song from Picnic at Hanging Rock, probably my favourite film? I love this so much. Miracles - Jefferson Starship (1975) > I got pretty obsessed with Woodstock recently. Jefferson Starship didn't actually play this there 'cause it was written a few years later but maybe it embodies the spirit of what I imagine Woodstock would have been like? Magnificent. Woodstock - Matthews Southern Comfort (1970) > Joni Mitchell wrote this one, but this is the version I love the most. I enjoy those warm, hippy harmonies. Summer Wine - Nancy Sinatra & Lee Hazelwood (1966) > I have always loved this song--further reinforced by my two singer friends who did this as a karaoke duet late one night and I almost wept. Long, Long, Long - The Beatles > George is my favourite Beatle. He wrote this one, and most of the best Beatles tracks IMHO. Shek Tamar - RAS (2020) > Some more dreamy harmonies, and a smooth groove that hooks ya Hilversum - Al Usher (2010) > What I like about this one is I DJ it a lot and it seems to work in lots of situations. It's just a nice-sounding track and reminds me of my friend Gus Franklin. As The World Falls Down - David Bowie (1986) > I grew up watching The Labyrinth A LOT and I don't think I really reconciled/made sense of the feelings I had for The Goblin King (Bowie) so now it's just this song that makes my soul ache. Dreamboat Annie - Heart (1975) > I love this album; again it reminds me of a good time in my life where I lived with my best friend and we listened to this a lot and sometimes we pretended we were Ann & Nancy Wilson from Heart. Transcendance - Santana (1977) > More to Santana than you might think. Transcendance makes you feel like you can fly. A Rainbow in Curved Air - Terry Riley (1969) > Ok so this one is pretty out there but wow, imagine how this would have blown peoples' minds in 1969? Psychedelic electronica at its roots that paved the way for so many others following. Behind The Mask - Yellow Magic Orchestra (1978) > My spirit is in Japan, and YMO embody everything that I love about Japanese music and culture. Views of The Rhine - Kevin Harrison (1982) > There's cosmic energy, light and hope in this one. Love that vibe. How Does It Make You Feel? - Air (2001) > I guess I am nostalgic because this reminds me of another happy time in my life, when I listened to this album (10,000 Hertz Legend) a lot. It reminds me of my friend Ben Browning. Time - Pachanga Boys (2011) > Ok, so I like deep, psychedelic, introspective tracks. This sums that up pretty well. Andee Frost played it as his final track at Golden Plains in 2014. It was really something. Long one…. Stay with it. "I'm working on feeling more comfortable telling my friends that I love them, ‘cause I do. Love isn't something that should be reserved just for your partner, or family. It's bigger than that."

Welcome in to another episode of Totemtalks! Thanks for tuning in as we continue our deep dive into all things musical. In todays episode, we we go Soul Mining with The The, we make some Forever Changes with Love, and we Try a Little Tenderness with Three Dog Night! Enjoy! TotemTalks is a music podcast dedicated to breaking down a variety of musical artists in fun and educational ways. If that sounds interesting to you, please check it out! And if you enjoy listening, be sure to let us know by using #totemtalks, and following us on our Social Media! Peace and Love! Facebook: facebook.com/lowtotemband Instagram: low_totem Twitter: low_totem Website: lowtotemband.com Become a Member of Team Totem here: https://anchor.fm/lowtotem/support --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lowtotem/support

Guests Andrew Male and Richard Morton Jack join host Jim Irvin to share some unsung albums they love. The records in this episode are: Donovan's For Little Ones (1967), Nada Surf's Let Go (2003) and Take A New Look At The Beatles by The London Jazz Four (1967). Also discussed: Nick Drake, Geoff Love's important impact on both guests, The Beat's Just Can't Stop It, Love's Forever Changes, Island samplers, Guns 'N Roses, record shopping in Liverpool, interviewing Paul McCartney, Big Star, Fresh Maggots and the fall and rise of British jazz. A playlist accompanying this episode, including all three albums, is available on Spotify. Search for You're Not On the List: Episode 1. Jim Irvin's blog about Jazz v The Beatles is available at jimirvin.com Check out Jim Irvin's other show, Here's One I Made Earlier, in which musical creators discuss a key work in the repertoire: https://www.jimirvin.com/podcast-2 Please like or comment wherever you get your podcasts or leave a voice message here: https://anchor.fm/james-irvin5/message

Watch the snot cake against your pants and turn into crystal as we discuss 2 albums released in November 1967.

What are the least-loved and most-loved lovesongs on Love's third record, Forever Changes? Listen closely and you'll hear Adam's grin, listening to his friends quote and sing songs they'd never heard just a couple of weeks before. Our first time talking about Americans and the sixties with THREE wide-ranging, virgin impressions of this 1967 folk-rock classic. Longtime Love guitarist Rusty Squeezebox was even kind enough to offer his opinion of the top tune. Some technical gremlins kept this from being audiophile-perfect but it's still probably our most entertaining episode to date, thanks to some editing help from Jim's son. Please tell us how YOU would rank tonight's tunes on Instagram, Facebook and Twitter @wewillrankyoupod ! FILE UNDER/SPOILERS: Arthur Lee, Alone Again Or, snot, psychedelic pop, A House Is Not A Motel, folk rock, Andmoreagain, Bryan MacLean, the Wrecking Crew, The Daily Planet, ballin', Old Man, Johnny Echols, the Damned, the Red Telephone, psychedelic rock, Maybe The People Would Be The Times Or Between Clark And Hilldale, strings, Live And Let Live, magic, Ken Forssi, trumpet, The Good Humor Man He Sees Everything Like This, orchestral pop, Bummer In The Summer, Michael Stuart-Ware, baroque pop, You Set The Scene, 1967. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.com http://www.facebook.com/WeWillRankYouPod http://www.instagram.com/WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page) https://open.spotify.com/playlist/4OFTIda46Di4HkS0CDvM7L (Dan's top 100 songs of 2020) THEM: https://www.love-revisited.com http://love.torbenskott.dk (fanpage) END CREDITS SONG: All You Need Is Love by Elvis Costello (Live Aid, 1985)

Returning guest Michael Cudahy (better known by his nom-de-showbiz, “The Millionaire”) grew up in New England, and paid his dues with Matador recording artists Christmas and Sub Pop lounge music super-stars Combustible Edison. So how did 60s Los Angeles psychedelic band Love and their 3rd album “Forever Changes” become such a touchstone to his musical soul? We’ll let the always-entertaining Cudahy explain it himself, as we dive into Arthur Lee and Co.’s hugely influential take on the darker side of the Summer of Love.

The setting was the Sunset Strip, Hollywood, in the mid 1960s. The Whisky a Go Go and clubs up and down the street were the ultimate showcase for eclectic bands that brought together folk, rock, jazz and blues. At the forefront of this new wave was a group called Love. A wildly experimental band started by lyricist and founder Arthur Lee and guitarist Johnny Echols.This comprehensive interview with Johnny Echols covers all the bases, from the inception of Love and how Johnny worked with artists like Jimi Hendrix and Billy Preston, to the recording of the first proto-punk rock single, “7 and 7 Is." And continues to the groundbreaking album, “Forever Changes,” still rated the number one rock album of all time by the British music press.Johnny riffs with incredible stories and anecdotes about Little Richard, The Beatles, Jim Morrison, The Byrds, Buffalo Springfield, Charlie Manson, Neil Young, The Monkees and so many more. It's a great trip down memory lane for those who were there, and for those who wish they were, the lowdown on so many great stories. Johnny Echols was there every step of the way.

The setting was the Sunset Strip, Hollywood, in the mid 1960s. The Whisky a Go Go and clubs up and down the street were the ultimate showcase for eclectic bands that brought together folk, rock, jazz and blues. At the forefront of this new wave was a group called Love. A wildly experimental band started by lyricist/founder Arthur Lee and guitarist Johnny Echols.This comprehensive interview with Johnny Echols covers all the bases, from the inception of Love and how Johnny worked with artists like Jimi Hendrix and Billy Preston, to the recording of the first proto-punk rock single, “7 and 7 Is." It continues to the groundbreaking album, “Forever Changes,” still rated the number one rock album of all time by the British music press.Johnny riffs with incredible stories and anecdotes about Little Richard, The Beatles, Jim Morrison, The Byrds, Buffalo Springfield, Charlie Manson, Neil Young, The Monkees and many more. It's a great trip down memory lane for those who were there, and for those who wish they were -- the lowdown on so many historic musical figures. Johnny Echols was there every step of the way.

Alonso's Love Single Disc: https://www.youtube.com/playlist?list=PLu17-46TMtN01qfxuXKfezRxzVqhVJx4oAlonso's Sweater Song: Que Vida!Alonso's Freebird: She Comes in ColorsJenny's Love Single Disc: https://www.youtube.com/playlist?list=PLu17-46TMtN1doKuztUH31g15ZX5l0vqaJenny's Sweater Song: Live and Let LiveJenny's Freebird: Alone Again OrRyan's Love Single Disc: https://www.youtube.com/playlist?list=PLu17-46TMtN35DZcgtBEjWI1ewNdYeLrcRyan's Sweater Song: Maybe the People Would Be the Times or Between Clark and HilldaleRyan's Freebird: Alone Again OrIntro: Spaghetti Western by StickfigureOutro: Western Firefight 2 by Cullah

Arthur Lee foi o enigmático e volátil líder, compositor e guitarrista da lendária banda psicodélica Love, mais conhecida por seu triunfo sônico Forever Changes, de 1967. Lee foi batizado de Arthur Lee Porter. Ele nasceu nos Estados Unidos em 1945 e faleceu em 2006. >> Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Música: Everybody's Gotta Live Composição: Arthur Lee Tradução & Voz: Jéssica Iancoski | @euiancoski >>Link para a música https://open.spotify.com/track/6nTL1KhyjN3RzdRJFICZ81?autoplay=true Use #tomaaiumpoema Siga @tomaaiumpoema "Todo mundo tem que viver E todo mundo terá que morrer Eu eu acho que você sabe o porquê Às vezes as coisas ficam tão boas Então, novamente, fica tão difícil Mas quando eu tenho você em meus braços, garota... Você sabe que eu simplesmente não posso, eu não consigo o suficiente É, sim. Todo mundo tem que viver E todo mundo terá que morrer E todo mundo deve tentar se divertir um pouco E eu acho que você sabe o porquê Eu vi um homem cego parado na esquina ontem Ele mal podia amarrar os sapatos Mas ele tinha uma gaita e um violão amarrados no pescoço E ele com certeza poderia tocar um blues. com certeza. É, sim. Eu sinto como se já tivesse visto um milhão de pores do sol. E eles me falaram que se você está comigo, eu nunca irei embora Foi quando eu parei e dei outra olhada pra você Porque Todo mundo tem que viver E todo mundo terá que morrer Eu tive um sonho na outra noite, garota Eu sonhei que estava sozinho Mas quando acordei, dei outra olhada ao meu redor E eu estava cercado por cinquenta milhões de pessoas E todas elas têm que viver Você tem que viver! E todo mundo terá que morrer Antes que você descubra o porquê" Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

Episode 011: And Eleven Moons 01 Love - Dream (US 1969) Love are Los Angeles legends and often credited as one of the first interracial rock bands of the 60's.  Led by the enigmatic Arthur Lee, the original quintet fell apart after releasing their classic Forever Changes album.  Lee quickly reassembled a new band and recorded two albums, the first of which would complete his now expiring contract with Elektra and from which this somber rocker is pulled.02 P.P. Arnold - If You Think You're Groovy (US 1967) Los Angeles born Patricia Ann Cole started life in the Ikettes before striking out on her own with a relocation to London.  Capturing the hearts of the Immediate records crew, she was thrust into the spotlight as one of the darlings of the UK mod scene.  She recorded 2 albums with Andrew Loog Oldham featuring his trademark orchestral pop sound before heading back to the states.03 Jimi Hendrix - One Rainy Wish (US 1967) A  masterpiece in every sense of the word, this swirling psychedelic nugget is one of many highlights found on the Experience's sophomore album.  Filled with cascading guitar lines that don't let up til the last seconds, this exquisite piece shows that Hendrix created things as pretty and light as he did heavy and dark.  It's safe to say that no other musician pushed the sound of psychedelic guitar further than Jimi.04 Bobby Calendar - Nature (US 1968) Mr. Callendar cut his teeth on a few pop singles before morphing into the psychedelic mystic that produced this mind melter from his debut album.  Bobby dipped into all the colors of the era, creating wonderfully delicate and soft harmony psych one minute before taking a left turn with a sitar drenched dirge the next.  He would go on to produce another 2 albums before calling it quits in 1972. 05 Black Velvet - The Clown (UK 1969) B-side to the debut single by these UK psychedelic funk freaks that brings a heavy downer vibe with this ode to a mysterious clown.  The band released 3 albums during their 4 year life span and are  all worth investigating.  06 Nina Simone - To Love Somebody (US 1969) The title track to Nina's stunning album of 60's rock classics shows her wiling to take on the burgeoning pop scene with both appreciation and mastery.  Good luck getting your song back after she covers it!  Her version of the Bee Gees' lament to lost love beefs up the rhythm while retaining the sense of loss the original captures so well07 Eugene McDaniels - Welfare City (US 1970) Eugene first found fame as Gene McDaniels in a more traditional pop singer mold before using his full name once signing with Atlantic in 1970.  Along with his new label, he also found a new sound fueled by the political climate of the time.  Taken from his Outlaw album, this song sounds like a long lost folk-rock number backed by a heavy rhythm section.  08 Parliament - Silent Boatman (US 1970) George Clinton founded this band in 1965 as the Parliaments before dropping the s and his first doses of Owsley in 1969.  The yin to his twin group Funkadelic's yang, these misfits came mighty close to a pastoral psych sound with this track from their 1970 debut.  Written by frequent collaborator, UK songstress Ruth Copeland, this beautiful number is covered in acoustic guitars, bagpipes and an heartfelt vocal.09 Rotary Connection - Amuse (US 1970) Chicago's finest psychedelic soul export that featured a young Minnie Ripperton, this severely underrated group released 7 albums in their 4 year career and are all worth seeking out.  This acoustic beauty is a rare solo Minnie acoustic track that is free of Charles Stepney's wall of sound production.  It also strangely foreshadows her future hit "Loving You" in it's sparseness. 

"Ils s'appellent Love, mais ils devraient s'appeler Hate", disait d'eux le guitariste de Janis Joplin. Effectivement, les membres de Love ne savaient pas faire semblant de sourire. En apparence, ils avaient tout pour incarner à eux seul le Flower Power. Premier groupe interracial de l'histoire de la pop, Love fascinait d'abord par sa musique, un éblouissant cocktail de folk, de rock garage, de soul et de funk, avec des paroles mystérieuses empreintes de mysticisme et de conscience sociale. Derrière les compositions, on trouve un excentrique du nom d'Arthur Lee, leader taciturne et misanthrope qui focalise toutes les passions. Son plus bel ouvrage, l'immense album Forever Changes, sera à la fois un aboutissement artistique absolu et le début d'une vertigineuse chute pour l'ensemble du groupe. Publié pour la première fois en mars 2015. Article disponible sur le site Chicane Magazine : http://www.chicane-magazine.com/2017/06/23/podcast-graine-de-violence-love-arthur-lee/ Quelques références... Des bouquins : Love, de Stéphane Koechlin Waiting For The Sun, de Barney Hoskyns Arthur Lee And The Book Of Love, de John Einarson L'excellent site www.edwood.net Des disques : Love - Love (1966) Da Capo - Love (1966) Forever Changes - Love (1967) Four Sails - Love (1969) False Start - Love (1970) Are You Experienced ? - The Jimi Hendrix Experience (1967) Bold As Love - The Jimi Hendrix Experience (1967) Electric Ladyland - The Jimi Hendrix Experience (1968) The Doors - The Doors (1967) Strange Days - The Doors (1967) L.A. Woman - The Doors (1971) Mr. Tambourine - The Byrds (1965) Turn! Turn! Turn! - The Byrds (1965) Fifth Dimension - The Byrds (1966) Retrouvez la playlist avec tous les morceaux utilisés pour l'épisode ici : https://open.spotify.com/playlist/0xoSN5gBZhDCkQe7vLzguY?si=32a3ec4651b7440b facebook twitter Instagram

Hosts Adam Barrow and Ben Richardson discuss the 1967 release from psychedelic pioneers Love.

Découvrons ensemble un album maudit de l’Histoire tragique du rock, le sublime Forever Changes du groupe Love ! Un album original, au confluent du rock psychédélique, de la folk et de la soul ! Œuvre majeure de la contre-culture hippie, Forever Changes n’a jamais connu le succès mérité … L’album égale pourtant les meilleurs albums des Doors et […]

Part two of our conversation about Love, with Nick Scalera, a patron of the pod. Today, we go deep on one of Nick's favorite albums, "Forever Changes." Episode editor: Mary Edelberg Become a Rockin' the Suburbs patron - support the show and get bonus content - at Patreon.com/suburbspod (http://patreon.com/suburbspod) Subscribe to Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Play, SoundCloud, Stitcher and TuneIn. Or listen at SuburbsPod.com (http://suburbspod.com/) . Please rate/review the show on Apple Podcasts/iTunes and share it with your friends. Visit our website at SuburbsPod.com (http://suburbspod.com/) Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music by Quartjar. Visit quartjar42.com (http://quartjar42.com/) (c) Artie S. Industries LLC

Louie N Kyle take a trip to the world of the deeply psychedelic sixties band Love. Love lived communally in a Griffith Park castle, they horded guns and drugs and, most importantly, they weren't fucking around. Learn how they made one of the best albums of all time against insurmountable odds. --- Send in a voice message: https://anchor.fm/kickthejukebox/message

More on my Academy life --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ronald-mason/support

Do you know what it is like to not have an easily identifiable economic transaction history of purchases and sales to live? Did you know having a credit report is the difference between economic equality and economic inequality? For many individuals around the globe, there is no economic record of their economic history or transactional data. BanQu helps individuals who provide materials that contribute to MNC supply chains with a business track record to win supply contracts, secure loans, and gain control over their finances. BanQu is able to truly address gender inequality and poverty through sustainable finance all with the ease of sending a text message. BanQu also helps large multinational corporations ("MNC") cut supply chain costs and improve their social and environmental performance at a time when consumers want to buy green ethical products that help the environment and consumer. As a company, BanQu, is being rewarded for doing the right thing as a start-up, and as an example of social enterprise in a short four years is predicted to achieve $3 to $4 million in revenue.

En 1967, le groupe californien Love raconte la solitude.Radio Nova revisite ses propres classiques : les raretés de tout bord qui rythment notre antenne, de la soul-funk au hip-hop en passant par les musiques afro-latines et la pop. Aujourd'hui : « Alone Again or » de Love.Love, groupe californien emmené par Arthur Lee au milieu des années 60. LOVE, des hippies qui, pour reprendre les mots des journalistes David Kamp et Steven Daly dans leur dictionnaire Snob du Rock, font de la Pop Baroque. Un groupe capable de mêler pop californienne, mariachis mexicains, psychédélisme et garage punk. Love donc, sera à l'instar de Sly and the Family Stones, l'un des premiers groupes à mélanger musiciens blancs et noirs.« Alone Again or » sera le hit de Forever Changes, 3ème album enregistré en moins de trois jours qui paraît en Novembre 67. Derrière ce hit, la plume de Bryan Mc Lean qui, lassé qu’Arthur Lee écrive la quasi totalité des titres de Love, avait réclamé un peu d'espace... Son titre, « Alone Again or », raconte le tiraillement d'une personne naturellement attirée par ses semblables et condamnée, tel Sisyphe, à se retrouver seule chaque soir. Une chanson qui a touché le coeur des gens et qui n’a jamais aussi bien résonné qu’en ce moment. C'est notre Nova Classic ce matin, LOVE, « Alone Again or ».Visuel © Pochette de Forever Changes de Love See acast.com/privacy for privacy and opt-out information.

Join Ben and Mike as they discuss an album (and band) you have probably never heard of before! This is "Forever Changes" by Love! As a reminder, you can find our new Spotify playlist right here - we'll be updating it as we go with our favorite songs from each album! You can check out Rolling Stone's full list right here. We'd love it if you would review us in your favorite podcast app, and while you're at it, give us a like on our Facebook Page or Instagram, follow us on Twitter, and send us a message if you have any comments or questions. --- Send in a voice message: https://anchor.fm/soundlogic/message Support this podcast: https://anchor.fm/soundlogic/support

Soraya & Jeff are joined by Jim, Frank & Jerry from the JFJ CONSPIRACY podcast to discuss the hugely influential 1967 album FOREVER CHANGES by Love.

Esta semana dedicamos el Sofá Sonoro a 'Forever Changes', el álbum mítico de Love, un disco que fue un fracaso comercial que acabó con la banda y que ha terminado en la colección de todo melómano que se precie. Para recorrer esta joya de 1967 invitamos al programa a Fernando Neira.

Esta semana dedicamos el Sofá Sonoro a 'Forever Changes', el álbum mítico de Love, un disco que fue un fracaso comercial que acabó con la banda y que ha terminado en la colección de todo melómano que se precie. Para recorrer esta joya de 1967 invitamos al programa a Fernando Neira.

What does it mean to be fearless? For many, it’s walking into a situation, knowing that you’re supposed to be afraid of what’s to come, but pushing through anyway. For others, like Jen Rubio, being fearless is just always making the most of every decision, and not allowing the idea of "fear" stop you from following your intuition. On today’s episode, Jen and I discuss the success of her luggage brand Away, what it means for her, and how she got to where she is today. Specifically, I ask Jen about her personal background that created the foundation for the future that she cultivated for herself. She shares her experience of immigrating to the US at age 7, understanding what it means to be different, and how going with the flow in life can be incredibly beneficial. See acast.com/privacy for privacy and opt-out information.

The guys are joined by John Petkovic (Sad Planets, Sweet Apple, Cobra Verde, and others) to discuss the 1967 record by Arthur Lee and Love entitled "Forever Changes." We also discuss hamburgers in Akron, making music with Patrick Carney of the Black Keys, how John met Doug Gillard, the Wrecking Crew, snot caked on pants, protest songs and why Sad Bugles would be a weird name for a band. Check out Sad Planets at: facebook.com/sadplanets

1960-е в США в наше время воспринимаются романтически, а на самом деле это было мрачное, страшное и опасное время. Лучше всего тёмную атмосферу 1960-х запечатлел в 1967 году в Лос-Анджелесе музыкант Артур Ли со своей группой Love на альбоме «Forever Changes». Послушать альбом «Forever Changes»: https://song.link/album/i/1125521386 Спасибо Дане Удобному за логотип, Ивану Калашникову за музыку. Спасибо всем кто даёт $10 и больше на Patreon: Artem Gordin Вова Апенов Chislovod Yura Kuznetsov Dmitry Bozhenok Anna Ravinskaya Golgothan Kirill dtrbn Ilya Reshetnikov Vaniya Karakasiyan Kanye West Lena Khalilova nBee Федор Белоусов Vadim Patsev Бобук Vasily Kistyakovskiy Евдокия Антощак Rita Popova

A seminal 60s album, that none of us have heard.

The Scarborough Dude follows up his episodes on Integrity and Forever Changes by Love with this one sampling triple layer listening and other tips.

The Scarborough Dude follows up his episodes on Integrity and Forever Changes by Love with this one sampling triple layer listening and other tips.

Johnny Echols, Love's original lead guitar player and founding member, shares his memories of Love, Arthur Lee, Bryan MacClean and their music, including Forever Changes. The Red Telephone (Forever Changes, Elektra, 1967) The American Four – Soul Food (Single, Selma, 1964) My Little Red Book (Love, Elektra, 1966) Emotions (Love, Elektra, 1966) Hey Joe (Love, […] The post Johnny Echols – Love appeared first on The Strange Brew.

Although it was a flop upon its initial release Love’s Forever changes has since become a classic of of the west coast psychedelic scene and has forever changed many of the groups appreciation of the the genre.

In which our heroes explore the meaning of Love, the magnificent grandeur of a Soul Man, Sam and...Dave Godowsky, a Bryter haze of British sorrow, the incredible Travelogue of Vince Mendoza and Joni Mitchell, and the marvel that is Illinois. But first...something Wonderful. (PS. Dave Godowsky’s song “Here I Am” is actually on his album ALL YOU LOVE IS NEED)

November 1967: Love, Cream, Moody Blues, Buffalo Springfield, Jefferson Airplane, Beatles, Amboy Dukes, 13th Floor Elevators

Love fue una banda de rock y pop, establecida en la costa oeste de los Estados Unidos, en los años 60, y lanzó al mercado su obra maestra en 1967 “Forever Changes“. Llamó la atención del público en general, no solo por su música, exquisita y de muy alto nivel, sino también por ser una banda interracial, siendo su líder, Arthur Lee, afrodescendiente. Fueron mentores e inspiradores de otro gran grupo rockero, The Doors, y no llegaron más lejos por la personalidad recia y controversial del líder, quien estuvo varias veces tras las rejas, o sirviendo tiempo como le dicen en el norte, por su carácter violento y afición a las drogas. Los invito a escuchar la música de Love, que a pesar de la vida revoltosa de su líder hicieron música extraordinaria, digna de su nombre como agrupación.

Musician, producer, and label guru Neil Sabatino (mint400.com) joins Bill and Brian to discuss Love's third album Forever Changes (1967, Elektra). Neil talks about how the band's early garage sound drew him in after a friend got him listening to Love's first couple albums, but then he was blown away by the maturity of the psychedelic and folk tones produced on Forever Changes. Bill, Brian, and Neil then get into the band's legacy, Bryan MacLean's genius guitar playing, how producer Bruce Botnick deftly motivated the band after bringing in some ringers from the Wrecking Crew, the band's influence on the Doors, a little on Arthur Lee's influence on Jimi Hendrix, production styles and the technology available for listening, the album’s place amongst the other classic albums of the time (such as Pet Sounds, Sgt. Pepper's Lonely Hearts Club Band, and the Piper at the Gates of Dawn), and much more as we make our way through the album track by track!

Monta un grupo. De rock n roll. En inglés. En un pueblo de Badajoz. Que te influyan AC DC, los Stooges y GNR. Ahora, sobrevive 15 años contra viento y marea. ¿Utopía? The Buzzos nos cuentan la receta de la longevidad y el convencimiento. Además nos relamemos con el Azkena que viene y leemos libros sobre Arthur Lee, Forever Changes y el Amoooooor.

In Episode Twelve of Red Moon Radio, we speak with Nick Wheeldon of Os Noctambulos and 39th & The Nortons about the bands' upcoming new releases, his influences and favourite artists, touring, and much more! Os Noctambulos – Corsica Garden – Song for Olivier 39th & The Nortons – On Trial – I Can’t Do It Interview with Nick Wheeldon of Os Noctambulos and 39th & The Nortons GUEST DJ SET FROM Nick Wheeldon – Gene Clark – With the Gosdin Brothers – So You Say You Lost Your Baby GUEST DJ SET FROM Nick Wheeldon – Compulsive Gamblers – Crystal Gazing Luck Amazing – Two Thieves GUEST DJ SET FROM Nick Wheeldon – The Sadies – New Seasons – The Trial Os Noctambulos – Corsica Garden - Polly 39th & The Nortons – Forever Changing (Tribute to Love’s Forever Changes) – Live and Let Live 39th & The Nortons – On Trial – Don’t Look Back 39th & The Nortons – On Trial – Carefree Os Noctambulos – Corsica Garden – On The Run Os Noctambulos – Corsica Garden – Walk On Follow Os Noctambulos and 39th & The Nortons online and be on the lookout for their new releases later this year! Follow Os Noctambulos on Bandcamp at osnoctambulos.bandcamp.com, become friends with the band on Facebook at facebook.com/os.noctambulos and follow them on Twitter at twitter.com/Os_Noctambulos. Find 39th & The Nortons recordings on Bandcamp via Les Disques Chupacabra at lesdiscqueschupacabra.bandcamp.com and Evil Hoodoo Records at evilhoodoo.bandcamp.com. Or do a quick search on Bandcamp to find all of their recordings! You can also follow them on Facebook at facebook.com/39th-The-Nortons. If you enjoyed the show, please follow Red Moon Radio on Twitter, Facebook, and subscribe to the show through Stitcher, iTunes, or here, on PodOmatic! And don’t forget, you can also now find us on 50thirdand3rd.com! Photo credit: Nina Airtz

Joe and Denisse listen to, and discuss Forever Changes by Love. Play the album at home, and let us provide commentary!

STEVE GUNN. WILDWOOD – 5:30 Way Out Weather, Paradise of Bachelors, 2014 ED ASKEW. ROADIO ROSE – 7:20 For The World, Tin Angel, 2013 PEARLS BEFORE SWINE. ANOTHER TIME – 3:05 One Nation Underground, Esp-Disk, 1967 LOVE. ALONE AGAIN OR – 3:15 Forever Changes, Elektra, 1967 WOODS. SHEPHERD – 3:15 With Light With Love, Woodsist, […] Cet article Errance #15 : De Steve Gunn à Sharon Van Etten est apparu en premier sur Eldorado.

Alone Again Or - Love The opening track (and one of only two not written by Arthur Lee) from Love’s opus, “Forever Changes.” The mariachi horns put it over the top. The Fife Piper – The Dynatones A little soul flute courtesy of the Hanna-Barbera record label. Yes, the Flintstones’ Hanna-Barbera. Boys Are Fine – Smith Westerns From Chicago’s own - girls know what boys want and clearly, boys will be boys. Like A Ship – Pastor T.L. Barrett and the Youth For Christ Choir From 1971 - A holy grail of gospel soul from the Southside of Chicago. Son De La Loma – Trio Matamoros A letter put to song from son to mother. The fact that this recording is over sixty years old only makes it more haunting. The Trip - Donovan This hippy, dippy, trippy Donovan tune could be interpreted different ways - drugs or a nightclub in LA called The Trip, depending on how your mind works. Change Of The Guard – Steely Dan Cut 4, side 2 of ‘Can’t Buy A Thrill’ that got lost in a stream of hits from side 1. Fugue State – The Funk Ark Brand new Jazz/Afrobeat from the D.C. based seven-piece ensemble. Who knew the nation’s capitol could be so funky? Baby Don’t Go – Sonny & Cher Follow up to ‘I Got You Babe’ – that Sonny Bono sure knew how to write a pop song. Teenage Kicks - Undertones Northern Irish punk from ‘77. Nobody does punk like the Irish do punk.

Time for some more anthology discussion from Eric Reanimator. This time around Eric talks about not one, not two, but three great compilations from bands of the early years of rock. You all know them for one or two songs, but Eric gives you the lowdown on other songs you should hear if your curiousity points that way. First of all, we hear about The Best of Johnny Kidd and the Pirates. Everyone will be familiar with “Shakin’ All Over” – it’s been covered by all manner of bands (my favourites are The Who and Eilen Jewell). Get familiar with their bluesy Merseybeat sounds. Next up is mid 60s New York pop band, The Left Banke. Eric discusses their compilation “There’s Gonna be a Storm”. Everybody loves their hit “Walk Away Renee” (great cover version by The Four Tops and an unusual spin by Billy Bragg – go on search it out). Eric will bring to your attention some other great songs including “She May Call You Up Tonight” (also covered by Richard and Linda Thompson). Highly recommended if you dig what is called the baroque pop sound. Finally, Eric talks about The Love Story, about Arthur Lee’s great band that should have been HUGE. A very eclectic band. Known mostly for “Forever Changes”, this compilation shows both their gentle and more garage oriented side (songs from De Capo for instance). Once again, Eric presents a hugely entertaining and informative show and exposes you to great music. Get onto it. You can download the podcast at iTunes by searching for “love that album”. You can also stream or download it at “http://lovethatalbum.blogspot.com”.  Send me any feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum

Shock World Service 039 The Sound Of Screaming Girls by Cian Ó Cíobháin 07/12/10 Galway, Ireland 1. Tindersticks – The Not Knowing One of the most treasured bands from my college years, early Tindersticks still ride an expressway to my skull. I saw them play a few times in the mid to late nineties and – to my eternal shame – once tried to nick singer Stuart Staples' jacket after a gig in Nancy Spain's, Cork. He caught me in the act and calmly pointed out that his jacket, tailored by Timothy Everest in London, cost him quite a bit of money and that if I wanted a memento of the gig, suggested I take a setlist instead. 2. Bonnie ‘Prince' Billy – Love Comes To Me Will Oldham has been around the block so many times now, to quote a friend of mine who has bought possibly everything he's ever released – “After about ten albums I thought: OK, we get it. We. Get. It”. But the man still has the capacity to surprise and this tour-de-force from his later catalogue is up there with his best work. In fact, I noticed Conor O' Brien AKA Villagers remark in an interview that it was the song he would most like to have composed and recorded. 3. Peter Broderick – Below It Still only 23, this native of Portland, Oregon has been quietly building up an impressive body of songs that belie his tender years. Has anyone, at any point in history, sang the line ‘The sound of screaming girls' with such pathos? 4. American Spring – Falling In Love A B-side from 1972, produced by Brian Wilson, who was at that time married to Marilyn Wilson, one of the sisters in this early 70s pop duo, a duo who had previously released songs as Spring and before that again as The Honeys. 5. The Fantastic Baggys – It Was I Just another one of your run of the mill American surf and hot rod groups, but for this cracker, which first came to my attention on Sonic Boom's seminal ‘Spacelines: Sonic Sounds For Subterraneans‘ compilation. 6. Pavement – Trigger Cut I also thought I liked Pavement, without being totally crazy about them. But their remastered collection from earlier this year ‘Quarantine The Past' brought songs to my attention that I hadn't heard in years, songs with the capacity to make me giddy with joy, songs that I find myself practicing air guitar moves to around my music room Is there any better motivation for a songwriter to write songs than to imagine his/her audience worked up in such a state? 7. The Books This NYC duo have mastered collage techniques to such an extent that whether drawing on found sound or thrift-shop music instruments or obscure speeches, they know how to amalgamate it all into a funky brew or a “three part Christian harmony mixed with a sort of euro-disco-trash beat” as vocalist Nick Zammuto describes one of the tracks on their 2010 LP ‘The Way Out'. Probably not this track, but you get the picture. 8. Love – Maybe The People Would Be The Times Or Between Clark & Hilldale I'm a relatively newcomer to Love's seminal ‘Forever Changes'. I'm not one of the precocious cool kids who was listening to Arthur Lee or John Coltrane VIA my parents' record collection from an impossibly early age. In the house of my childhood, it was all Seán Ó Riada and Liam Óg Ó Floinn, before I rebelled and started buying Madonna (Shep Pettibone-era) records. But when Arthur Lee finally shone his light on me, only a few short years ago, this one sounded like it should have been part of my soundtrack down through the years. 9. Radical Face – Winter Is Coming I played this for a friend recently who thought it sounded like the best song that Frank Black/Black Francis never wrote. It's from a 2007 LP on Morr Music called ‘Ghost' by Ben Cooper, who had previously released electrocuted glitch-pop as Electric President.