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SummaryIn this episode of the Golf Lovers United podcast, hosts Golf Lover UK and Pro Golf Critic celebrate the remarkable comeback of Anthony Kim, reflecting on his emotional victory and its significance in golf history. They discuss the dynamics of the Four Aces team, analyze Kim's performance and rankings, and explore the impact of his return on LIV Golf. The conversation also covers player performances, upcoming events, and the future of golf technology, particularly in relation to TGL. The hosts emphasize the importance of having multiple strong tours in the golf landscape and share insights on various players and their performances.TakeawaysAnthony Kim's comeback is a monumental moment in golf.The emotional impact of Kim's victory surpasses even Tiger's 2019 win.The Four Aces team dynamics played a crucial role in Kim's success.Kim's performance has significantly elevated his world ranking.LIV Golf is benefiting from Kim's return and performance.The final round showcased impressive play from multiple competitors.Player performances are closely tied to betting insights.Upcoming events will be pivotal for many players' careers.Concerns exist for players in the drop zone of rankings.Technology in golf, especially in TGL, needs significant improvement.Chapters00:00 Celebrating Anthony Kim's Comeback03:06 Emotional Moments in Golf History05:58 The Four Aces and Team Dynamics08:38 Anthony Kim's Impact on LIV Golf15:36 Concerns and Insights on Player Performances28:58 Statistics and Insights from Adelaide & Venue Change35:38 Patrick Reed's Impact on the European Tour40:21 PGA Tour Updates and TGL CornerTo get 15% off at https://www.shotscope.com ; use promo code: GOLFLOVERTo get $20 off your next purchase of $100 at https://www.greysonclothiers.com send your email to progolfcritic@gmail.com or DM your email to @progolfcritic on twitter.If you like to support this content, the podcast and Golf Lovers United GC, feel free to visit us at the links below!
WEEKLY WISDOM & INSIGHTS 02/11/26SPIRITUALLY GUIDED TRANSFORMATION & EMPOWERMENT
Sintonía: "Sleepwalk" - The Beverley´s All-Stars- "Honour Your Mother and Father", "Madgie", "Sinners, Prepare!", "Parents", "Labour for Learning" y "Dracula" - Desmond Dekker- "Spitfire" - Don Drummond & The Beverley´s All-Stars- "Boof Ska" - The Beverley´s All-Stars- "Jeserene" y "King of Ska" - Desmond Dekker & The Cherry Pies- "Take Your Time" - Theophilus Beckford- "Get Up Adina" - Desmond Dekker & The Four Aces- "Just One Little Girl" - The Four Aces- "This Woman", "Mount Zion" y "Soldering" - Desmond Dekker & The Four Aces- "Just In Time" - The Beverley´s All-Stars- "Happy Birthday Jamaica" - Desmond DekkerTodas las músicas extraídas del CD 1 de la compilación (2xCD) "Desmond Dekker-King Of Ska; The Beverley´s Singles Collection 1963-1967" (Trojan/BMG/Sanctuary Records, 2021)(Casi) todas las músicas compuestas por Desmond DekkerEscuchar audio
Songs include: Wedding Bells by the Four Aces, The Bells of Saint Mary by Bing Crosby, The Blue Bells of Scotland by Ella Logan, Serenade of the Bells by Jo Stafford and The Liberty Bell by The Band of the Grenadier Gaurds.
Songs include: It's a Blue World by The Four Freshmen, Three Coins In the Fountain by The Four Aces, It's Love, Love, Love by The Four King Sisters, I Get So Lonely by The Four Knights and Soldier Boy by The Four Fellows.
1 - I'm An Unemployed Sweetheart - Ted Wallace and his Campus Boys – 19312 - Kut erop! Kut erop! Kut erop! - Willi Henseler - 19263 - Fortune for a Penny - Hal Goodman and his Orchestra – 19434 - The Fortune Teller - Peg LaCentra with Johnny Green and his Orchestra - 19345 - The Fortune Teller - Elsie Janis – 19146 - You've Got Me in the Palm of Your Hand - Dick Robertson and his Orchestra - 19397 - The Fortune Telling Man - Silas Leachman – 19018 - Fortune Tellin' Man - Midge Williams and her Jazz Jesters - 19379 - Fortune Teller Man - Helen Humes with the Leonard Feather Hiptet – 194410 - Put Your Cards on the Table - James Franks and The Four Aces - 194611 - Crystal Ball - Hazay Natzy's Orchestra - Hotel Biltmore – 192012 - The Crystal Gazer - Denny Vaughan with Geraldo and his Orchestra - 194813 - The Wheel of Fortune - The Cardinals – 195114 - Hurricane - The Six Hottentots - 192715 - Wild-fire - Orlando Marin and his Orchestra – 195616 - Tea Leaves - Selvin's Dance Orchestra – 1921
Podcast review of FOREVER PLAID by Reno Lovison. Presented by MadKap Productions at Skokie Theater, the performance is reminiscent of a nightclub act from the fifties channeling the sounds of singing groups like the Four Freshmen, Four Aces or The Crew Cuts. Limited engagement through June 29, 2025.
Songs include: Wedding Bells by the Four Aces, I Went to Your Wedding by Patti Page, An Apple Blossom Wedding by Sammy kaye and The Wedding of Mr. Mickey Mouse by Jack Jackson.
SummaryIn this episode of the Golf Lovers United podcast, Golf Lover UK and PGC share personal anecdotes, discuss the recent performances of LIV Golf players, and analyze key players' inconsistencies. They delve into the dynamics of the Four Aces team, explore rumors about player transfers, and emphasize the importance of equipment and mental confidence in golf performance. The conversation is filled with humor, insights, and a deep love for the game of golf. In this conversation, the hosts discuss various aspects of LIV Golf, including sponsorship transparency, player performance, potential team changes, and the significance of the Official World Golf Ranking (OWGR). They also explore the growing market for golf in India and share personal anecdotes about golf opportunities. The discussion highlights the strategic moves in player recruitment and the future of LIV Golf, emphasizing the importance of adapting to the evolving landscape of professional golf.Chapters00:00 - Introduction and Personal Anecdotes03:09 - Experiences in Spain and Golf Courses05:57 - LIV Golf Tour Performances08:54 - Highlighting Individual Players' Performances12:10 - Team Dynamics and Performance Analysis20:49 - Future Prospects and Rumors in Golf27:55 - The Evolution of Harold Varner's Game30:00 - Patrick Reed's Resurgence and DJ's Inconsistency31:57 - The Impact of Coaching and Mental Approach in Golf39:01 - The Future of LIV Golf and Team Dynamics45:59 - Speculations on Player Transfers and Team Changes57:07 - Victor Hovland's Unique Position58:47 - The Importance of OWGR for Players59:51 - Strategic Moves for LIV Golf1h:08 - Engaging with Fans and Critics1h:11 - The PGA Championship/Majors and LIV Players1h:18 - Personal Golf Experiences and OpportunitiesTo get 15% off at https://www.shotscope.com ; use promo code: GOLFLOVER To get $20 off your next purchase of $100 at https://www.greysonclothiers.com send your email to progolfcritic@gmail.com or DM your email to @progolfcritic on twitter.If you like to support this content, the podcast and Golf Lovers United GC, feel free to visit us at the links below! https://www.glugc.com https://www.glugc.com/supportGLU GC is a collective of golfers that truly love golf, and every part of thegame. The podcast is hosted by Golf Lover UK, Pro Golf Critic and Red Harrington - 3 people that love golf, and love to discuss the ever changing world of professional golf, on and off the course.Golf Lovers United Fanzone!Fan of...
Con Universal Production Music, Al Dual, the Marvelettes, Jackie Wilson, the Four Aces, Larry Clinton & Bea Wain, Jan & Dean, Lita Torelló, the Cleftones, Tony Ronald, Boyce & Hart, los Ángeles, Mari Trini, Raphael, Enmanuel, los Bunkers ft. Mon Laferte, Bambino, Rocío Jurado y Juan Bau.
Tonya Johnston, Mental Skills Coach speaks with professional David Wilbur who rides and trains for Emil Spadone's Redfield Farm. Tonya also answer a listener question about how to stop catastrophizing when you are having a bad day or bad ride so you can turn it around and make positive progress. Brought to you by Taylor, Harris Insurance Services. Host: Tonya Johnston, Visit her Website, Facebook and buy her book Inside Your Ride Guest: David Wilbur is a professional rider and trainer at Emil Spadone's Redfield Farm which is based in Ocala, FL and Califon, NJ. David has been passionate about horses since a young age and is dedicated to bringing out the best in both horse and rider. This past fall at the Pennsylvania National Horse Show, David rode Casey & Marita Zuraitis's Four Aces to the High Performance Hunter Championship. The pair also won the EMO High Five Award for having earned the highest score in the open divisions with a 93. At the Capital Challenge Horse Show, David and Four Aces were 2nd in the $50,000 WCHR Professional Challenge, and David received the American Style of Riding Award. David is also a "R" USEF Licensed judge and was one of the judges at this year's New England Medal Finals.Title Sponsor: Taylor, Harris Insurance ServicesSubscribe To: The Plaid Horse MagazineSponsors: Great American Insurance Group, BoneKare, Safe Saddle by Debby Buck DeJonge, Show Strides Book Series, Good Boy, Eddie and Geoff Teall on Riding Hunters, Jumpers and Equitation: Develop a Winning Style
Down Home Cajun Music- Valse De BoscoRayne Bo Ramblers- "Les Tete Fille Lafayette" (Bluebird 2083) 1940Alley Boys Of Abbeville- "Es Ce Que Tu Pense Jamais A Moi" (Vocalion 05424) 1939Louisiana Rounders- "Allons Kooche Kooche" (Decca 17040) 1937Joe Falcon- "Le Nouveau Lafayette" (Decca 17025) 1937Jolly Boys Of Lafayette- "High Society" (Decca 17036) 1937Leo Soileau's Four Aces- "A Ute" (Decca 17017) 1936Rayne Bo Ramblers- "Le Valse De Bosco" (Victor 20-2034) 1946Sons Of Acadians- "Aux Balle Chez Te Maurice" (Decca 17054) 1939Joe's Acadians- Joe's Breakdown" (Bluebird 2073) 1938Cleoma Falcon- "Blues Negres" (Decca 17004) 1934Alley Boys Of Abbeville- "Abbeville" (Vocalion 05168) 1939Leo Soileau's Rhythm Boys- "Riche Ou Pauvre" (Decca 17031) 1937Thibodeaux Boys- "La Two Step A Erby" (Bluebird 2051) 1938*All selections taken from the original 78 rpm records.
Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://r.search.yahoo.com/_ylt=Awr92rDP5bllDAQAM_ZXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891407/RO=10/RU=https%3a%2f%2fwww.patreon.com%2fuser%3fu%3d4279967/RK=2/RS=9LbiSxziFkcdPQCvqIxPtxIgZ7A-ReplyForwardAdd reaction
Bing Crosby Podcast 1954-02-21 (61) Guest The Four Aces 1944-02-24 Guest Phil Silvers and Gordon MacRae's Railroad Hour 1954-02-22 (282) Martha
Thursday November 16th on the Equestrian Legacy Radio Network's CAMPFIRE CAFE… Four Aces and A Queen…Valerie Beard, Floyd Beard, Dennis Russell, Terry Nash and Dale Page! Get ready for a Rip Roarin' Good time with these talented and Award Winning Cowboy Poets. Join host Gary I. Holt along with cohost Bobbi Jean Bell at High Noon at Equestrianlegacy.net and on iHeart Radio, Apple Podcast, Spotify and most streaming platforms…Just search for Equestrian Legacy Radio!
Down Home Cajun Music- La BreakdownThe Four Aces- "Aces Breakdown" (Bluebird 2045)Walker Brothers- "La Valse De Louisiane (Bluebird 2098)Sons Of Acadians- "Aux Balle Chez Te Maurice" (Decca 17054)Happy Fats & his Rayne Bo Ramblers- "Le Valse De Bosco" (RCA Victor 2034)Joe Falcon- "Le Nouveau Lafayette" (Decca 17025)Hackberry Ramblers- "La Breakdown A Pete" (Bluebird 2035)The Alley Boys of Abbeville- "Te Bonne PornMoi Estere" (Vocalion 05057)Leo Soileau & his Three Aces- "Allons A Ville Platte (Bluebird 2196)Nathan Abshire & The Rayne Bo Ramblers- "Gueydan Breakdown" (Bluebird 2177)J.B. Fuselier & his Merrymakers- "La Robe Barre" (Bluebird 2063)Alleman and Walker- La Femme Qui Jovait Les Cartes" (Bluebird 2193)Jolly Boys Of Lafayette- "High Society" (Decca 17036)Leo Soileau's Four Aces- "A Ute" (Decca 17017)*All selections from the original 78 rpm records.
Programa monogràfic dedicat al gran Desmond Dekker, king of ska, referent jamaicà de l’ska per excelència. Trackslist: “King of Ska” “Honour your Mother and your Father” “Jeserene (with The Cherry Pies)” “Get Up Edina (with The Four Aces)” “007 (with … Continua llegint →
The Blue Jays lead the Guardians 2 games to 1 before the finale on Thursday afternoon with a little bit of an early recording. What is going wrong with the offense and just how good this pitching staff has been. Also deep diving the career of Joey Bats before he heads to the level of excellence and breaking down the Cubs series. ALL THAT AND MUCH MORE Follow Us On Socials MERCH: Gate14.ca Instagram: https://www.instagram.com/gate14podcast/ TikTok: https://www.tiktok.com/@gate14pod Twitter: https://twitter.com/Gate14Pod Discord: https://discord.gg/KvCFpy7gX2
If you have ever considered wanting to build your career after you finish competing in your sport. You want to make sure that you take your fans, followers and supporters with you. The only way that can happen is by positioning yourself before that time is up. This episode is for you.(00:00) - Snippet & Intro(01:57) - Why Every Athlete Should Their Own Podcast(03:44) - Social Media Comparison (07:11) - The Podcast Industry Is Open(09:34) - Four Aces of Podcasting(12:10) - Pat McAfee Wins Big As A Kicker(13:00) - Social Media Is Leased Not Owned(13:55) - Build An All-Star Network(15:29) - No More Picking People's Brains(16:54) - The Secret Sauce To Finding Your Passion(17:38) - How To Double Your Net worthSUBSCRIBE On YouTube ➡️ https://www.youtube.com/channel/UCt4_jEC4--5s9gwxNsqEjrg?sub_confirmation=1 WATCH MORE ➡️ https://www.youtube.com/channel/UCt4_jEC4--5s9gwxNsqEjrgFollow Beyond the Ball with Jonathan Jones:YouTube: ➡️ @JonathanJonesSpeaks Twitter: ➡️ https://twitter.com/JonathanJSpeaksMAIN Instagram: ➡️ https://www.instagram.com/jonathanjonesspeaks/TikTok: ➡️ http://www.tiktok.com/@jonathanjonesspeaksLinkedin: ➡️ https://www.linkedin.com/company/go-beyond-the-ball/Beyond the Ball Podcast: ➡️ https://www.instagram.com/beyondtheballpodcast/Apple Podcasts: ➡️ https://podcasts.apple.com/us/podcast/beyond-the-ball-with-jonathan-jones/id1507204404Spotify: ➡️ https://open.spotify.com/show/5iHeNCVhaU0e3qeWiksySK?si=c7260c1882db46c6
Original Air Date: August 19, 1951Host: Andrew RhynesShow: Adventures of Wild Bill HickokPhone: (707) 98 OTRDW (6-8739) Stars:• Guy Madison (Hickok)• Andy Devine (Jingles) Special Guests:• Ed Max• Hal Gerard• Ralph Moody• Barney Phillips• Junius Matthews• Jack Moyles Producer:• Paul Pierce Music:• Dick Aurandt Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
The World's best golfer is once again Rory McIlroy, and he won again, this time at Congaree, the new home in South Carolina to the CJ Cup. Hosts Alex Lauzon and Michael Russell marvel at Rory's 2022 year, when he was a model of consistency while also playing stand-in PGA Tour Commissioner (1:42). The PGA Tour announced the entire "elevated" tournament list, adding more mainstay tournaments to a list of bigger purse championships (6:04). The LPGA wrapped up its weekend in Korea, where Lydia Ko continued her great stretch of golf this year with another win (8:00). LIV Golf heads to Trump Doral for its season finale, where Pat Perez's Four Aces are favorites to win the season long team prize (8:45). The PGA Tour, meanwhile, heads to the Butterfield Bermuda Championship at Port Royal, where several past podcast guests headline the field (10:23). In Tuned In, Michael is marveling at an incredible animatronic Halloween display in a Savannah neighborhood, while Alex went to the theaters for the critically panned "Halloween Ends" (12:25). This week's guest is Daniela Iacobelli, widely considered the "John Daly of women's golf." Daniela chats with Alex about her many years on the LPGA and Epson Tours, her love of lighting up heaters on the course, and how she may be the only golfer who hates the off-season (15:47). Alex's college football picks where pretty good this week, but only if you looked at his full slate, and not his Run Your Pool picks. A completely flip of his luck last week (40:24). In the NFL, Michael's Giants are now Super Bowl contenders, while Alex's Patriots continue to have questions as to who is the started quarterback (43:20). Major League Baseball heads to the World Series, and Michael's Yankees are woefully absent after an atrocious showing to the Astros. Alex now wonders is Aaron Judge will jump ship to the rival Mets or Red Sox (45:14). As the guys #AlwaysEndWithFood, Alex is sharing his Halloween meal plans to avoiding eating all the candy, while Michael is trying out a new sourdough bread combination of figs, goat cheese, and honey (48:39). Listen + Love + Subscribe: http://bit.ly/3fdoQed Read Alex's Picks on Run Your Pool: https://www.runyourpool.com/articles/author/alexlauzon/ Support the First Tee - Greater Austin: https://bit.ly/3n09U4I Join us on Facebook: http://bit.ly/2NpEIKJ Follow us on Instagram: https://bit.ly/2QJhZLQ Watch us on YouTube: http://bit.ly/3qvq4Dt
Challenge Of The Yukon – 08 – Four Aces www.GoooldRadio.com
Garron, Sojo, and Waldy, LIV's newest fan, sit down to discuss the latest digs at LIV from a senior PGA player, as well as talk about this past weekends LIV tournament. Bottle poppin' and stogey smoking, Dustin Johnson and his Four Aces team continue to stay hot and DJ likely has the putt of the year across all of professional golf, so the guys talk about what a win like this does to boost LIVs viewership and appeal. The show wraps up with the bums of the week which include a player injuring themselves celebrating, and a New York based sports team that has been trending in the wrong direction since the All-Star Game. As always, follow us on IG @thewashedupshow and send in some topics! Donations to the pod will prevent Sojo from having to force McDonald's down their throats
We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. 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 As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe
This week on the Classroom Double K and Mr Suave discuss the events of the NBA Offseason and the NFL Preseason. So tune in and enjoy...
This week Double K and The Doual discuss some of the hottest topics in Sports...
This week Double K and OMalley talk about the hottest opics in Sports today...
A motivated Stenson wins in Bedminster. Are the Four Aces a super-team? Finau's putter stays hot for back-to-back wins. Trump Bedminster vs Detroit GC. Ian Davis claims the State Am. Davis Love III said what?!?!?! MUCH MORE!!!
This week Double K and Suave debate the hottest topics from the NBA Finals and the NBA Offseason
This week Double K and OMalley talk the Warriors season and the craziness of the NFL offseason...
The year was 1955. Bill Haley's Rock Around The Clock blasted off and just around the corner on the charts was Elvis who had a minor hit in 1954 that made some waves with That's Alright, Mama and Good Rockin' Tonight. RCA bought his contract from Sun Records for $35K. The minimum wage reached new heights of $1.00 per hour. The Brooklyn Dodgers defeated the New York Yankees in the World Series. The Honeymooners and Gunsmoke debuted on television. And we'll be digging through the top ten charts of country, rhythm & blues, and pop in a year where the Cold War was a fact of life leading us to duck and cover. Tune in for some Webb Pierce, Eddy Arnold, Four Aces, Mitch Miller, Fats Domino, and Chuck Berry this week on our show that browses those dusty digital bins on a weekly basis on Community Radio here in Sonoma County.
This week Double K is back on this new debate show on 4ACES jfirst up to the plate is The Doual of WCB...
The Four Aces are an American male traditional pop music quartet, popular since the '50s ( the Golden Days of Radio).
The Four Seasons, the Four Aces, the Four Tops, the Four Freshmen, the Four Lads...well today on "The Cowsill's Podcast" we are visiting with Bruce Belland of THE FOUR PREPS!!!! In terms of audience reaction to the Four Preps think Beatles and Frank Sinatra. They were mobbed after their concerts. Do you remember watching Ozzie and Harriett and waiting for Ricky Nelson to sing the song at the end of the episode? Remember the band that always stood there with Ricky? That's the Four Preps plus James Burton. That's Bruce Belland to Ricky's right. The Four Preps were Ricky's college buddies on the TV show. Imagine what is must have been like when your band is riding high and the Beatles arrive on the scene and change the whole landscape and there's no room for you anymore. We were new to the story of the Four Preps since they were a little before our time but it just blew us away so we wanted to have Bruce on to share his story with everybody and he was gracious to accept the invitation. You have to read his biography at brucebelland.com and you will be AMAZED! Remember "26 Miles (Santa Catalina)"? It sold 10 million records! That's The Four Preps!! Hope you enjoy the episode.Song of the Week: A Letter To The Beatles by The Four Preps
Down Home Cajun Music- Leo Soileau's Four Aces 1935-1936Leo Soileau was the first Cajun fiddler to record back in 1928. After the Depression Leo returned to recording with a group in the string band style and recorded for Decca. While the group recorded songs in Cajun French; they also covered songs by the Carter Family and other country groups, as well as pop hits of the day. This episode features their English string band songs.Leo's Four Aces was comprised of Leo along with Floyd Shreve and Bill (Dewey) Landry. It is speculated that some of these recordings features Tony Gonzales on drums.Leo Soileau's Four Aces- Green Valley Waltz (Decca 5102)Leo Soileau's Four Aces- Corrine, CorrinaLeo Soileau's Four Aces- Nobody's Buisness If I DoLeo Soileau's Four Aces- Frankie and JohnnieLeo Soileau's Four Aces- Red River Valley Leo Soileau's Four Aces- Birmingham JailLeo Soileau's Four Aces- The Unexplained BluesLeo Soileau's Four Aces- KC RailroadLeo Soileau's Four Aces- Little Darling Pal of MineLeo Soileau's Four Aces- Wreck of Old No. 9*All selections from the original 78 rpm records
The Orioles of the late '60s and early '70s were one of the best teams in baseball, with a strong and stable rotation that peaked 50 years ago this week when Jim Palmer became the 4th Baltimore starter to win 20 games on the year. Mike and Bill discuss this staff and the epic run that fell just short of winning it all. Plus, happy birthday to Jelly Gardner and Hunky Shaw!
En El Guateque estamos de vuelta de las vacaciones, que viene a ser el fin del verano, las despedidas. Hoy despedimos a JUANA GINZO. Inimitable, personal y única, su voz era grave, con un timbre precioso, versátil, limpio, pero sobre la voz se imponía la propia Juana, con su actitud, su modo de ser. También se nos fueron Mikis Theodorakis - con su composición en 1964 de 'Zorba el griego', protagonizada por Anthony Quinn y dirigida por Michael Cacoyannis, Theodorakis consiguió llevar la música popular griega al mundo entero, y también fue el autor de una melodía utilizada en la película “Luna de miel” (en la que participó el bailarín Antonio). La discográfica de Gloria Lasso encargó al excelente poeta y actor Rafael de Penagos una letra en español que Gloria grabó con su espléndida y sensual voz.Otro recuerdo emocionado para los Everly Brothers, uno de los grupos más influyentes en el mundo de la música popular. Yo diría que el dúo más importante, sin desmerecer a otros. Este verano también nos dejó Don Everly, el mayor de los hermanos, el de la voz más grave y el que solía cantar los solos.Muchos han llorado el adiós de Charlie Watts. El punto es que nada de lo que han hecho los Rolling Stones hubiera sido posible, sin el impasible e imperturbable Charlie Watts.‘All Summer Long' podría parecer una tonta canción veraniega , pero la historia es algo más que un reflejo de una fantasía de quinceañeros en el verano, porque al final se recuerda que todos aquellos momentos felices serán sólo recuerdos de aquel largo verano. Muy poético, escrito por Mike Love . La melodía es del gran Brian Wilson, que se esmeró mucho en los arreglos vocales, con ese absolutamente maravilloso falsete.La película Grease dejaba la imagen del fin del verano, de despedida de un amor de verano, en esa escena de playa con la fuerza de las olas que protagonizaron Olivia Newton John y John Travolta . La canción apareció originalmente en un drama romántico dirigido por Henry King, La colina del adiós (Love is a Many-Splendored Thing) con William Holden y Jennifer Jones en los papeles principales. La película obtuvo tres Oscar: Mejor Canción Original, Mejor Banda Sonora Drama y Mejor Vestuario. La composición interpretada por The Four Aces se ha convertido en todo un clásico, y la grabaron, entre otros, Nat King Cole Brigitte Bardott canta A LA FIN D'ETÉ . Una canción compuesta por Gérard Bourgeois con el que colaboraba habitualmente Jean-Max Rivière , que se encargaba de los textos. Compuso casi toda la discografía de la Bardott y algunas canciones para Gloria Lasso..Gelu nos llena de esperanzas para esta temporada con una canción que interpretó Bobby Darin. Y este Guateque reúne también a Dusty Springfield. Fórmula V. Los Ángeles, Rocky Kan, Luis Aguilé, Bruno Lomas, Los Puntos, Caterina Valente
As many of you know, I'm a firm believer that a robust arts scene is critical for a region to be considered vibrant. Michigan has long been a hot spot for the arts, and the talent seems to be gathering momentum. Joining Chris to discuss a new faction of the arts are a pair of the Four Aces of Arts - Sarah Sanders & Autumn Hopkins, and the Owner & Director of Opportunity Arts, Mike Marriott!
As many of you know, I'm a firm believer that a robust arts scene is critical for a region to be considered vibrant. Michigan has long been a hot spot for the arts, and the talent seems to be gathering momentum. Joining Chris to discuss a new faction of the arts are a pair of the Four Aces of Arts - Sarah Sanders & Autumn Hopkins, and the Owner & Director of Opportunity Arts, Mike Marriott!
SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE I'm from Philly. Born there, lived there a little, grew up near there & was there every week for decades. It's in my blood in more ways than one. But that pales in comparison to my dad's experience. He was born there, lived there 30 years, and visited family there every week for many MORE decades. Why does this matter? Because place matters. Not just for family but for culture too. And that very much includes music. Now that I've spent over 20 years in NYC, I can tell you there's one big difference in the two cities: pressure. Both cities are a crossroads of cultures. Both have tons of options & influences & sounds. But whereas NYC is one giant pressure cooker, constantly testing you, Philly lets you breathe, doesn't ask you to be any more than you are. It's why so many stage shows & musicians have historically gone there first to get into fighting shape. You NEED to be in fighting shape to thrive in NYC. Philly doesn't just let you live, it encourages it. In NYC you can do whatever you want too, but you're on your own until you can prove you're worth the trouble. This is why Philly music fans, venues & radio are so much better, so much easier to find your place in and be supported. It's also why Philly music is way more of a mix of styles than NYC music. In NYC, you have every imaginable style of music, but they're segregated into silos that rarely mix in any significant way. And they're way more self-conscious about it all. In Philly, every kind of music talks to every other kind just because, and the results are new amalgams that couldn't have been born anywhere else. Does that make Philly the greatest music city in the US? Probably not. There are too many worthy competitors – New Orleans, Memphis, Chicago, etc. But it does put Philly WELL in the top 5, and I'd say even the top 3. G. Love & Special Sauce are a great example of the Philly amalgam. Led by Garrett Dutton, they mix hip-hop, funk, psychedelica, folk, blues, soul & alt rock in a way only a Philly band could do. There are so many other examples of this kind of mixing through the decades. The Philadelphia Sound itself – funk-soul-dance mixed with lush orchestral strings & percussive horns. Think Hall & Oates – folk roots turned to funk-soul-pop-rock. Lil Uzi Vert – lo-fi emo rap rock. Below is a very incomplete list of other well-known artists from the Philly area. Note the variety of styles, both among and within the artists: The Four Aces, Danny & the Juniors, Frankie Avalon/Fabian/Bobby Rydell/Chubby Checker/Nicky DeMatteo, McCoy Tyner, Todd Rundgren & Nazz, Jim Croce, Hall & Oates, Gamble & Huff/McFadden & Whitehead/The Stylistics/Harold Melvin & the Blue Notes/Teddy Pendergrass/Sister Sledge/The Delfonics, Patti LaBelle, Joan Jett, Robert Hazard & the Heroes, The Hooters, Cinderella/Britny Fox, Pretty Poison, The Dead Milkmen, Live, Ween, Schoolly D, DJ Jazzy Jeff & Fresh Prince, Boyz II Men, The Roots, Jill Scott, G. Love & Special Sauce, Ape Café, Nick DeMatteo & REC, Huffamoose, Disco Biscuits, Circa Survive, Low Cut Connie, Eve, Chiddy Bang, Meek Mill, Lil Uzi Vert, Tierra Whack. Every single thing I have ever done has Philly in it somewhere. Here's the most complete playlist to date of my solo & band work: The Semi-Complete Nick DeMatteo - Spotify playlist Do you have any ties to Philly music? Do you know G. Love? What other areas of the country are as fertile a ground for music mixing as Philly? Discuss dammit! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nick-dematteo/support
Once again with a two tone beat, here's this weeks playlist dedicated to one of the greats who set the foundation for ska, Prince Buster...so skank your way over...go on...git-The Four Aces. Just One Little Girl-Eddie Perkins. My Darling-Stranger and Gladdy. Chances-Prince Buster. Al Capone-Millie Small. Oh, Henry-Andy and Joey. You're Wondering Now-Jackie Opel. You're too Bad-Patsy Millicent Todd. You Took my LoveBackground: Los Caballeros Orchestra. Keino Ska
Award Winning Singer Songwriter Laura Cheadle has but one wish for the holidays – to lift her fans’ spirits and bring back the true meaning of Christmas. The self-proclaimed purveyor of positivity, has released a pair of seasonal songs and videos “Christmas In My Life” and “Red Ain’t Everything (The Rudolph Blues)" – available now on all DSPs – that she hopes will evoke “that nostalgic Christmas feeling, no matter where they are on Christmas.” “Christmas In My Life,” which showcases Cheadle’s more pop-infused sound with its upbeat tempo and catchy, sing-a-along chorus, was originally written by Cheadle in 2017 and reworked this year with the help of her father and Philadelphia music icon James Cheadle (Cheadle has worked with everyone from Jerry Ross for Jerry Butler, Harold Melvin, The Blue Notes and The O'Jaysto DJ Jazzy Jeff, Don Cornell, The Four Aces, Grover Washington Jr. and The Soul Survivors) during Covid. An accompanying lyric video is available now at https://youtu.be/U0SJwv-j2wE (https://youtu.be/U0SJwv-j2wE). Support this podcast
Award Winning Singer Songwriter Laura Cheadle has but one wish for the holidays – to lift her fans’ spirits and bring back the true meaning of Christmas. The self-proclaimed purveyor of positivity, has released a pair of seasonal songs and videos “Christmas In My Life” and “Red Ain’t Everything (The Rudolph Blues)" – available now on all DSPs – that she hopes will evoke “that nostalgic Christmas feeling, no matter where they are on Christmas.” “Christmas In My Life,” which showcases Cheadle’s more pop-infused sound with its upbeat tempo and catchy, sing-a-along chorus, was originally written by Cheadle in 2017 and reworked this year with the help of her father and Philadelphia music icon James Cheadle (Cheadle has worked with everyone from Jerry Ross for Jerry Butler, Harold Melvin, The Blue Notes and The O'Jaysto DJ Jazzy Jeff, Don Cornell, The Four Aces, Grover Washington Jr. and The Soul Survivors) during Covid. An accompanying lyric video is available now at https://youtu.be/U0SJwv-j2wE (https://youtu.be/U0SJwv-j2wE). Support this podcast
Nouvelle diffusion, ce dimanche, de la rencontre avec Stein Verrelst et Maarten Vandenbemden, deux membres du quatuor de guitares ' Four Aces '. C'était ce 27 octobre 2019. "Et si Mozart avait joué de la guitare", c'est à partir de ce postulat, aussi sympathique, saugrenu, sérieux qu'intrigant qu'est né "Tabula Rasa" le 4e disque du "Four Aces guitar quartet" Le quatuor "Four aces", est comme son nom le dit un quatuor de guitares constitué de Menno Buggenhout, Inti De Maet, Stijn Verrelst et Maarten Vandenbemden . Fondé en 2009, il publie en ce moment son 4e disque "Tabula rasa". Deux de ses membres sont nos invités : les guitaristes Stein Verrelst et Maarten Vandenbemden. " Tabula rasa " tente de répondre à une question que s'est posée le quatuor : "Que se serait-il passé si de grands Maîtres comme Jean-Sébastien Bach, Mozart, Chopin, Rachmaninov ou Bizet avaient composé pour la guitare ? " On se surprend bien sûr lorsqu'on ne connaît pas le monde de la guitare, à découvrir que ces grands compositeurs ne se sont pas intéressés à cet instrument !! La guitare a donc manifestement souffert d'un manque d'intérêt et de considération évidents, au cours des siècles passés. C'est pour pallier ce manque, pour ouvrir de nouveaux horizons au public et aux guitaristes, mais surtout pour se faire plaisir que les 4 membres du "Four Aces guitar quartet" se sont attelés à la transcription de chefs d'oeuvre du répertoire, de JS Bach, à Rachmaninov et Debussy, en passant par Mozart, Bizet et Scriabine. Essentiellement des oeuvres pour piano. Le résultat est d'abord un disque à la finition technique impeccable, mais c'est surtout dans la finesse des transcriptions que s'expriment le talent et la créativité de cette formation. " Une transcription doit bien sûr d'abord respecter le texte original ", nous confiera le guitariste Maarten Vandenbemden, " Mais elle doit aussi tenter d'y apporter une valeur ajoutée. " Une mission accomplie avec brio donc, en particulier dans la célèbre Marche Turque de Mozart qui clot ce disque. Le charme des transcriptions du "Four Aces guitar quartet", c'est aussi de nous donner à entendre davantage et autre chose que la partition originale. Le cas des "Estampes" de Claude Debussy est exemplaire à cet égard, tant la finesse des quatre voix donnent à Debussy une palette de couleurs, rarement entendue dans la version originale pour piano. Cela étant dit, ces transcriptions ne devraient pas non plus laisser penser qu'on n'a pas écrit du tout pour la guitare au cours des siècles passés! Le répertoire est abondant, en particulier à l'époque baroque, au 20e et à notre 21e siècle. On pense par exemple à des figures aussi importantes que Luciano Berio ou Toru Takemitsu. "Tabula rasa" et ce postulat "Et si Mozart avait joué de la guitare..." sont donc une vraie réussite. C'est d'abord un travail d'orfèvre qui ravira les mélomanes avertis, mais aussi un voyage sensoriel charmant, par la beauté des mélodies originales, et l'inventivité de leurs transcriptions : le "Four Aces guitar quartet" parvient ainsi à toucher un large public. "Tout le monde a une histoire avec la guitare", nous dira le guitariste Maarten Vandenbemden. " Que ce soit via un père, une soeur, une amie ou un cousin. Tout le monde connaît, de près ou de loin, quelqu'un qui a joué cet instrument ! " "Tabula Rasa" est publié chez Beeldenstorm Bonne écoute ! Réalisation et présentation: Laurent GRAULUS
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Leikin eru lög úr nokkrum kvikmyndum frá fyrri tíð. Flytjendur eru Frank Sinatra, Four Freshmen, Alice Faye, Bob Hope & Clark Sisters, Doris Day, Nat King Cole, Andy Williams, Audrey Hepburn og Four Aces. Umsjón: Jónatan Garðarsson.
Wild Bil Hickok - Four Aces for Death http://oldtimeradiodvd.com
Wild Bil Hickok - Four Aces for Death http://oldtimeradiodvd.com
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