Podcasts about Forever Changes

For the full, ad-free, 64-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969 ($49 instead of $75)   New to the show? Start at Love Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ The Full Version: https://www.patreon.com/posts/love-part-1-full-152927413   Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Prepare for some hardcore revelations. Part 20 is the second part of my raw, honest interview with Mike Randle, Rusty Squeezebox, and David Green, three-fourths of the band Baby Lemonade, who've effectively acted as Love now for over 30 years. Here are just a few of the many things that Baby Lemonade discusses with Discograffiti in this podcast: How they all pitched in alongside Arthur to reach for the stars upon his release from prison;  The story most illustrative of Arthur's personality ever, involving a dildo in a swimming pool; The Forever Changes victory lap: Arthur on his best behavior, and Arthur on his worst behavior; The turning point, when things started going straight downhill;  The attempts made to squeeze out just one more Forever Changes-level Arthur Lee masterpiece; How Johnny Echols wound up stepping into Arthur's rather large shoes; Plus if and how this thing could possibly continue even after Johnny. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

For the full, ad-free, 47-minute podcast, either subscribe to Discograffiti's Patreon at the Major Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969 ($49 instead of $75)   New to the show? Start at Love Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ The Full Version: https://www.patreon.com/posts/love-part-1-full-152927413   Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 18 covers the early 1990s to the early 2000s, a period which encompasses both the nadir and zenith of Arthur's career—that is, his stint in prison and his redemptive, post-release victory lap tour of Forever Changes—by which time Arthur's experienced the kind of adulation of which he'd been deserving since a large audience had last paid attention. Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: The Origin Story: how Baby Lemonade wound up crossing paths and then working with Arthur Lee; What spurned the unfortunate early exit of Baby Lemonade bassist Henry Liu; Their first recording session together, and why it was an immediate red flag for the new backing band; The facts behind the evening that landed Arthur in prison; Why a man named Gene Kraut was almost entirely responsible for the rehabilitation of Arthur's reputation; The new batch of Arthur Lee material, and the central conundrum it posed; The big comeback falls apart during their homecoming show at Royce Hall; And an overview of Arthur & Baby Lemonade's “Girl On Fire” single.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

For the full, ad-free, 75-minute podcast, either subscribe to Discograffiti's Patreon at the Major Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969    New to the show? Start at Love Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ The Full Version: https://www.patreon.com/posts/love-part-1-full-152927413   Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 17 covers a fifteen year period (from the late 1970s to the early 1990s) during which the wild choices Arthur made in his life overshadowed his music as a priority…and yet still somehow made him no less fascinating. Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: Arthur's less than triumphant reunion with Bryan MacLean for a one-off live show; The unfortunate double function his bandmates at the time may have served, to Arthur's probable detriment; Arthur finally exhumes the sole outtake from Forever Changes and commits it to wax; Inarguably the worst remake from Arthur's back catalog, a misfire on a level almost incomprehensibly misguided; The arrests start to pile up; Arthur starts taking business advice from mobsters; Enter Baby Lemonade; And an in-depth, track-by-track deep dive on every song off 1981's Arthur Lee and 1992's Arthur Lee And Love. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

For the full, ad-free, 72-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969    New to the show? Start at Love Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ The Full Version: https://www.patreon.com/posts/love-part-1-full-152927413   Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 16 covers a little-known but unbelievably fascinating era during which Arthur was afforded his final substantial opportunity, and what happened with that opportunity in Arthur's dubiously capable hands. Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: Arthur Lee bringing the funk in a big way; The great lost Love song, and in many ways the true epilogue to Forever Changes; Arthur's final big chance; What you get if you're Eric Clapton and you've asked Arthur to open for you; That time Robert Plant and Jimmy Page swung by to meet Arthur; That time Arthur lived out of his car…but with a driver; And an in-depth, track-by-track deep dive on every song off Black Beauty and Reel To Real.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

For the full, ad-free, 39-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969 ($49 instead of $75)   New to the show? Start at Love Part 1 on Apple Podcasts or Spotify. Love Part 1 on Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Love Part 1 on Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ   Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 14 covers the Hendrix-heavy moves of the False Start era, as Arthur's Love greeted the new decade with his spirited take on the funk-inflected hard rock of the time, yet another large stylistic move away from the Forever Changes era that his fans so desperately craved. Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: The rekindling of Arthur's friendship with his old buddy Jimi Hendrix only months before his death; Details about the session during which Jimi joined Love, and what was played; The major similarities—and glaring differences—between Arthur & Jimi; The band that Arthur and Jimi were supposedly planning on assembling before his untimely passing; The crumbling of this next line-up, as the substance imbibing begin to gain steam in Arthur's life; That time Arthur got arrested for zapping people with a cattle prod; And an in-depth, track-by-track deep dive on every song off False Start. New to the show? Start at the full version of Episode 1: https://www.patreon.com/posts/love-part-1-full-152927413 Dave's Show Notes are available at a separate link for Lieutenants & up.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

For the full, ad-free, 27-minute podcast, either subscribe to Discograffiti's Patreon at the Major Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/posts/full-episode-12-156609089 Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969   New to the show? Start at Love Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ The Full Version: https://www.patreon.com/posts/love-part-1-full-152927413   Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with OG Love mainstay Johnny Echols about the classic psych band's entire recorded output (for 4 1/2 hours total), with commentary on their history, wild stories, and star ratings—from both Dave and Johnny—for every release. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 12 is the sixth and final part of my first interview with Johnny, and it's the part I always think of when I look back on our conversation.  Here are just a few of the many things that Johnny discusses with Discograffiti in this podcast: How Johnny felt about all the Love records that came after Forever Changes; Johnny's opinion on the damage that Arthur did to Love's legacy with the later records;  Regrets over drug abuse; Johnny's upcoming plans with Love; Johnny's modest outlook on Love's legacy; And a story about Jac Holzman at the very end that will be seared into my brain for the rest of time immemorial.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti  

New to the show? Start at Love Part 1 on Apple Podcasts or Spotify. Love Part 1 on Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Love Part 1 on Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 11 covers the first several months of 1968, during which the original Love fell to pieces. Here, then, is everything you could ever want to know about the period after which the band was no more. Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: A look into why Forever Changes may have tanked as badly as it did; An in-depth examination of one of the great singles of all time, their 1968 swan song “Your Mind And We Belong Together” backed with “Laughing Stock”; Arthur's unsuccessful attempt to eject Bryan MacLean from the band; The fate of Bryan MacLean's solo album for Elektra; Love's 1968 New York jaunt, which was plagued with a panoply of problems; The death of their road manager, which Arthur later documented in “Your Friend & Mine - Neil's Song” on Love's next record, Four Sail; What happened with Johnny Echols, Bryan MacLean, Snoopy Pfisterer, Michael Stuart-Ware, and Ken Forssi; And finally, the tragic life, and death, of Don Conka. For the full, ad-free, 61-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link. The Full Podcast: https://www.patreon.com/discograffiti New to the show? Start at the full version of Episode 1: https://www.patreon.com/posts/love-part-1-full-152927413 Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969 Dave's Show Notes are available at a separate link for Lieutenants & up.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

New to the show? Start at Love Part 1 on Apple Podcasts or Spotify. Love Part 1 on Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Love Part 1 on Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with OG Love mainstay Johnny Echols about the classic psych band's entire recorded output (for 4 1/2 hours total), with commentary on their history, wild stories, and star ratings—from both Dave and Johnny—for every release. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 10 is the fifth part of my interview with Johnny, which covers the material he'd conceived to contribute to Forever Changes, Love's final single, and the chaotic final days of the band.  Here are just a few of the many things that Johnny discusses with Discograffiti in this podcast: The classic final 1968 single that Love made before breaking up; The tracks that Johnny had written and conceived to be part of Forever Changes back in 1967;  A brutally honest and raw look back at Johnny's days using heroin while the band was imploding; How Johnny got off drugs once and for all; The little-known one-time live reunion of Love that came to a swift end; Johnny's relationship with Miles Davis in the early 1970s, not to mention the possibility that he was an uncredited inspiration behind one of Miles' seminal records from that time; And some hard truths about the end of Don Conka's life. For the full, ad-free, 31-minute podcast, either subscribe to Discograffiti's Patreon at the Major Tier or higher, or just grab the episode as a one-off at the same link. The Full Podcast: https://www.patreon.com/discograffiti New to the show? Start at the full version of Episode 1: https://www.patreon.com/posts/love-part-1-full-152927413 Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969    CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

New to the show? Start at Love Part 1 on Apple Podcasts or Spotify. Love Part 1 on Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Love Part 1 on Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 9 is a track-by-track exploration of every single song on Love's undisputed masterpiece Forever Changes, which only a fool would argue is not the towering peak of the band's career. Here, then, is everything you could ever want to know about the songs on this perfectly conceived record. Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: The incredible and tragic story of the trumpet soloist on the opening track, “Alone Again Or”; The jaw-dropping story behind Johnny Echols' double-tracked guitar solo on “A House Is Not A Motel”; The only Forever Changes track that was actually a holdover from Da Capo; The very real possibility that Arthur Lee may have actually invented rap music; The one Forever Changes outtake; And an in-depth, track-by-track deep dive on every song off Forever Changes. For the full, ad-free, 77-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link. The Full Podcast: https://www.patreon.com/discograffiti New to the show? Start at the full version of Episode 1: https://www.patreon.com/posts/love-part-1-full-152927413 Purchase the 21-episode Love series at a 33% discount (hear as they appear): www.patreon.com/collection/2004969  Dave's Show Notes are available at a separate link for Lieutenants & up.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

New to the show? Start at Love Part 1 on Apple Podcasts or Spotify. Love Part 1 on Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Love Part 1 on Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with OG Love mainstay Johnny Echols about the classic psych band's entire recorded output (for 4 1/2 hours total), with commentary on their history, wild stories, and star ratings—from both Dave and Johnny—for every release. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 8 is the fourth part of my interview with Johnny, which covers the same time period as Episode 7, but in more granular detail, and heard directly from the man who lived it. Part 8 covers Love's Forever Changes: the machinations behind the scenes, the making of the record, and all the classic music on it.  Here are just a few of the many things that Johnny discusses with Discograffiti in this podcast: Why Arthur thought he was going to die after making Love's third record; Arthur's relationship with cocaine at that time; The secret that Arthur kept from the band members during the making of the album; Whether Neil Young had any production involvement, as legend has had it; Johnny's thoughts on orchestrator David Angel's contribution to the LP; His true thoughts about turning down Monterey Pop; What Johnny thinks is his best ever moment on record; Finally, that “All of God's children gotta have their freedom” piece at the end of “The Red Telephone” is explained!; And an in-depth, track-by-track deep dive with Johnny on Forever Changes, plus his own star rating for the record! For the full, ad-free, 53-minute podcast, either subscribe to Discograffiti's Patreon at the Major Tier or higher, or just grab the episode as a one-off at the same link. The Full Podcast: https://www.patreon.com/discograffiti New to the show? Start at the full version of Episode 1: https://www.patreon.com/posts/love-part-1-full-152927413 Purchase the 21-episode Love series at a 33% discount (hear as they appear): https://www.patreon.com/collection/2004969    CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

New to the show? Start at Love Part 1 on Apple Podcasts or Spotify. Love Part 1 on Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000755046962 Love Part 1 on Spotify: https://open.spotify.com/episode/3B3FEgFZ58gJOZqSSmaiGG?si=5LuYUXfVRYy2NRE30AszCQ Discograffiti is the deep-dive podcast for music obsessives. Host Dave Gebroe talks with podcast OG Joe Kennedy about the classic psych band's entire recorded output, with commentary on their history, wild stories, and star ratings for every release, including long-form interviews with both Johnny Echols and the members of Baby Lemonade, who've served as Love now for coming up on 35 years. 7 & 7 & 7 Is: The Definitive 21-Episode Story Of Arthur Lee & Love was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth, the almighty Love.  Part 7 covers Love's third record, the undisputed masterpiece Forever Changes, which only a fool would argue is not the towering peak of their career: here, then, is the record's background story, and the making of it. It is often referred to as the greatest album of all time, especially in the U.K., where in 2002 members of Parliament signed a motion declaring Love's 1967 release "the greatest album of all time". Here are just a few of the many things that Joe discusses with Discograffiti in this podcast: How drugs factored into things during that time, and which drugs they were; What separated the orchestrations intended for this record from the strings on all other rock records up to this point; The misunderstood notions about who is playing what and the band members' involvement in the process of creating the songs; Whether or not Forever Changes was intended at the outset to be a double album; Just how things got off on the wrong foot on the first day of sessions; The extent of The Wrecking Crew's involvement in playing on the record; Why exactly they turned down Monterey; The man responsible for sequencing the album, as well as the one song he cut from the track list; And the background story which begat its classic title. For the full, ad-free, 46-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link. The Full Podcast: https://www.patreon.com/discograffiti New to the show? Start at the full version of Episode 1: https://www.patreon.com/posts/love-part-1-full-152927413 Purchase the 21-episode Love series at a 33% discount (hear as they appear): https://www.patreon.com/collection/2004969 Dave's Show Notes are available at a separate link for Lieutenants & up.   CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

Today we're discussing the legendary Forever Changes by Love. We're also doing a deep dive into the tragic story of singer and main songwriter Arthur Lee. Forever Changes is widely considered one of the best albums ever made, but it was a massive failure when it released. Later in life, Lee had many run-ins with the law, culminating in his wrongful imprisonment in 1996. He then died at the age of 61 in 2006.   Intro 00:00 Problems at the Very Beginning 1:08 Origin of the Album's Title 2:18 Chaos While Recording 2:55 Lee's Inspiration for the Album 5:56 Then the Album Bombed 8:22 Analyzing the Music 15:20 Lee's Connection to Jimi Hendrix 29:39 He Wore a Wig? 31:35 Origin of the Name "Love" 31:50 Love After Forever Changes 32:33 Lee's Imprisonment and Death 33:38 Outro 42:48    ----------------------------------------------------------------------------------------------------------   Join the Patreon, it rules: https://www.patreon.com/everyalbumever   Mike's music: Pander Monkey on Bandcamp, Spotify, Apple,   Mike on Instagram @pandermonkey Tom on Instagram @tomosmansounds   Tom Osman's stuff: Music on Spotify, Apple, Website Podcast on Spotify, YouTube     ----------------------------------------------------------------------------------------------------------

I'm excited to bring you the first installment of "Talking At The Diner" for 2026.. the year of our lord. My guest on Ep. 54 is is none other than my bandmate from the John Faye Power Trip and IKE..... Drumroll please...... that's right, it's Cliff Hillis!  
Now, even though Cliffy and I officially stopped playing together in 2006, we have never stopped supporting each other and getting back together when the stars aligned. Last year, in fact, we played a fun acoustic show together for Record Store Day at Forever Changes in Phoenixville, and we also got loud for the first time in a long time at the sold out IKE reunion show at MilkBoy in Philadelphia in May.The roots of our 3+ decade friendship go way back to our younger days in Delaware, where I first encountered Cliff playing around Newark in on of his first bands - The Name - while I was writing on filthy bar floors and wearing toilet seats around my neck as the front man of the Beat Clinic, the band that would later morph into the Caulfields.We continued to cross paths as his musical journey progressed in bands like Mystery Machine, Tisra Til, and Starbelly. The opportunity to play the first International Pop Overthrow festival in Los Angeles in 1998 put Cliff and me onstage together for the first time and we kept on rockin' until the end of 2006, which  was a tumultuous year for Cliff on a personal level. He lost both his parents that year and made the decision to part ways with IKE to pursue his own path. And the result of that decision has yielded a stupendous catalog of music, which scratches any power pop itch you may have.We met up in early January for a weekday hang at The Local in his longtime adopted hometown of Phoenixville, PA and had the kind of relaxed, familiar conversation that only two people who traveled the country in a van can have.I hope you enjoy our conversation!!
~ John ❤️You can follow the various antics of Cliff Hillis here:
https://cliffhillis.com
https://patreon.com/cliffhillis 

We get into the thwackfuck, which Kev's not having and has decided to fix next year. Randy's been at communist headquarters again getting all bolshie and shit. Tay Tay rears her inoffensive head, we talk at some length about the relative merits of panning in popular music, and we're introduced to a band from the 60s that neither of us have listened to named "Love". And look, we like love. We might ever go so far as to say we love it. But you know what we won't say? We definitely won't say "Ni!" to passers by. Oh and Alice's Dad is back with another pair of questions for us! If Kev were to title this episode, he'd probably call it "Alone Again Or", or possibly, "I refuse to finish that thought"!The ninteenth installment in this podcast-within-a-podcast covers a song submitted by the ever lovely Dan Flett; the trippy, classical-infused lead track from Love's 1967 album "Forever Changes". So power your flowers, dig out your flares and prepare to get grooby man. It's time for "Alone Again Or"!The song at the end is the beautiful performance of "Angle From Montgomery" by Bonnie Raitt and John Prine at the ACL Presents: Americana 18th Annual Honors which aired on November 23, 2019 on PBS. Bear in mind that Bonnie is 70 years old here and John is 73 and giving one of his last performances before succumbing to Covid just 5 short months later. He is sorely missed. You can watch the performance here: https://youtu.be/MaHNUYAKDn4If you want to get involved in the Kofi Klub, you can make a donation here: https://ko-fi.com/seasidepodreview and let us know which song you want us to add to the wheel! We also have a private channel in our Discord community for donors.Follow us onFacebook: @seasidepodreviewDiscord: https://discord.gg/nrzr2mQjBluesky: @seasidepodreview.bsky.socialAlso, check out Kev's other podcastsThe Tom Petty Project: https://tompettyproject.comThe Ultimate Catalogue Clash: https://shows.acast.com/uccAnd if you want to check out Randy's music, you can find it here:https://randywoodsband.com Hosted on Acast. See acast.com/privacy for more information.

Forever Changes by Love, released in 1967, is a lush, intricate, and hauntingly beautiful blend of psychedelic rock, folk, and baroque pop. Recorded during a turbulent time for the band and for frontman Arthur Lee personally, the album stands apart from the louder, fuzz-driven sounds of the era by embracing a more acoustic, orchestral approach. Gentle guitars intertwine with mariachi-style brass, delicate strings, and Lee's poetic, often cryptic lyrics that hint at paranoia, social unrest, and fleeting beauty.The songs move between breezy, pastoral melodies and sudden, unsettling shifts, creating a mood that's both warm and slightly foreboding — a reflection of the late 1960s cultural climate. Tracks like “Alone Again Or,” “Andmoreagain,” and “You Set the Scene” capture a timeless, almost dreamlike quality. Though initially a modest commercial success, Forever Changes has since been hailed as one of the greatest albums of all time, a shimmering yet bittersweet portrait of a changing world.What did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press Discord ServerFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

For many, music is as much a part of life as breathing. We drop the needle on a conversation with Shawn Cephas, owner of Forever Changes, a record store in Phoenixville, Pennsylvania. Shawn shares how his deep love for and expansive knowledge of music has driven him to open a shop that is as much a space to learn about music as to buy records. We explore the intimate connection that Shawn's family has with music. Through our conversation, Shawn offers a lesson in music history as we journey through genres. Whether you're a lifelong collector or just getting into the groove, this episode strikes a chord.OUR PARTNERSouthern Chester County Chamber of CommerceLINKSForever ChangesWebsite: foreverchangesrecords.comInstagram: instagram.com/forever.changesForever Changes on FacebookBluesky: @foreverchangespxv.bsky.socialAdditional LinksWXPNSteel City CaféPhoenixville Area Community Services (PACS)Ann's HeartKit's ClosetLocal Music VenuesThe Fenix Bar & LoungeSoulJoel's (at SunnyBrook, Pottstown)SunnyBrook BallroomThe GemBands and Artists MentionedWe linked to the Wikipedia page for all the artists below. We invite you to check out their music wherever you listen.Hüsker DüBlack FlagMinor ThreatRites of SpringMetallicaSlayerAnthraxDeathBig StarThe ClashThe JamThe SmithsR.E.M.Talking HeadsRamonesDepeche ModeThe CureBad BrainsMy Morning JacketBelle and SebastianChappell RoanDeath Cab for CutieThe Postal ServiceCat PowerMannequin PussySoccer MommyBlondshellBullyFlorence + The MachineGreta Van FleetMadonnaDuran DuranTaylor SwiftRay CharlesLuther VandrossPocoBuffalo SpringfieldJethro TullJapanese BreakfastBlack PumasMaya DelilahAdeleLordeCulture ClubCharlie ParkerDuke EllingtonDizzy GillespieBill EvansPaul MotianScott LaFaroMac MillerSuki WaterhouseSteve LacyN.W.A.Dr. DreIce CubePrinceJimi HendrixMovie: High FidelityRecord LabelsBlue Note RecordsOriginal Jazz Composers (OJC)Riverside RecordsTranscriptThe transcript will be posted on our website as soon as it is available.

Vamos con la obra cumbre del pop barroco y el 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). Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ La Música del Arcón - FM 96.9 (Buenos Aires, Argentina) miércoles 18:00 (hora Arg.) Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

(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'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"

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.

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. 

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

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.

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.