Podcasts about Fowley

Schickt uns euer Feedback zur EpisodeIn Episode #109 betrachten wir unseren Umgang mit Ressourcen. Dazu erklärt uns Historiker Philipp Blom, wie wir Natur und Kultur trennen und wie sich dies über die Geschichte und verschiedene Regionen hinweg unterschied. Die Unterscheidung ist wichtig, denn sie gibt uns vor, was in puncto Produktion erlaubt ist und bestimmt somit einen Großteil unserer Arbeit und unseres Wohlstandsverständnisses. Als Bonus philosophieren wir gemeinsam über Wendepunkte und die Fähigkeit von sozialen Systemen, sich auf neue Gegebenheiten einzustellen. Was werden wir also in Zukunft tun?Shownotes:Philipp Blom, Die Unterwerfung der Natur, BuchDuncan K. Fowley, Adam's Fallacy, Buch

This week we are discovering alien spacecraft off of the West African coast while we discuss “Biogenesis”! We're talking the excitement of new locations in Skinner's office but the sadness of them being used for betrayal, our beloved Pointing Group, whether Mulder is getting alien visions or they're still being digested by mushrooms, the return of Chuck: King of Digital Images and how our Chuck hatred may be as fickle as Diana's loyalty, and the possibility of Skinner and Fowley being best friends. Hear us out, they're both bad bitches, they can make it work! We introduce our new favorite character Zardoz the Orc General, wonder why only coworkers ever visit these people in the hospital, admire Diana's biceps, and get very excited about the return of Alfred: Father of Normal Hosteen! We miss him every day of our lives. Normal Hosteen, that is.Send us an email at scullynationpod@gmail.com or follow us on Twitter and Instagram!

This week we are hunting for bodybuilder aliens in nuclear reactors while we discuss “The Beginning”! We're talking the show entering its LA Era, try to come up with a name for Spender and Fowley's Bargain Bin Boo Crew, Mulder itemizing his trip to Antarctica (because of course he would), how absurd it is that Scully is still this much of a skeptic in Season 6, and how Mulder is like Medusa: Stare into his puppy-dog eyes and you will ruin your career. We're talking how Skinner is on thin ice this week, how it's not right to see Mulder and Scully in direct sunlight, how Mulder and Fowley love jogging along like gazelles, how the nuclear reactor gets an OSHA exception for vibes, how Spender is not capable of being the guy, how poor Gibson and this alien need to run away together ET-style, and we wonder who the heck this Kersh guy is. Also: I guess we're all part extraterrestrial now?!Send us an email at scullynationpod@gmail.com or follow us on Twitter and Instagram!

Prepare to be dazzled by our Book of the Week, Eyes Guts Throat Bones, an anthology of macabre tales at the end of civilisation. Moïra Fowley's spellbinding imagination will captivate your senses in an irresistible collection that explores our darkest impulses and deepest fears, interlaced with stories of queer love.  ‘One of my favourite storytellers. These tales lingered, morphed, consumed me.' Kiran Millwood Hargrave Eyes Guts Throat Bones by Moïra Fowley is published by Weidenfeld & Nicolson and out now. We recommend buying a copy from your local indie bookshop or you can visit our shop on Bookshop.org. Podcast produced and edited by Megan Bay Dorman Programmed by Matt Casbourne Learn more about your ad choices. Visit megaphone.fm/adchoices

KISS: "DESTROYER" com todas as faixas comentadas ao vivo! Faixas: 1. "Detroit Rock City" Paul Stanley, Bob Ezrin Stanley 2. "King of the Night Time World" Stanley, Kim Fowley, Mark Anthony, Ezrin Stanley 3. "God of Thunder" Stanley Simmons 4. "Great Expectations" Gene Simmons, Ezrin Simmons 5. "Flaming Youth" Ace Frehley, Stanley, Simmons, Ezrin Stanley 6. "Sweet Pain" Simmons Simmons 7. "Shout It Out Loud" Stanley, Simmons, Ezrin Stanley, Simmons 8. "Beth" Peter Criss, Stan Penridge, Ezrin Criss 9. "Do You Love Me" Stanley, Fowley, Ezrin Stanley Formação: Paul Stanley - Guitarra Rítmica, Vocal principal e Vocal de apoio Gene Simmons - Baixo, Vocal principal e Vocal de apoio Ace Frehley - Guitarra Solo Peter Criss - Bateria, Vocal principal e Vocal de apoio ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

Story: The Day Fowley Died Author: Reality Rating: Teen and Up Site link: http://fluky.gossamer.org/display.php?DayFowleyDied.Reality Read by: kristinsauter Summary: A scenario on the death of Diana Fowley. ***Every effort was made to reach out to this author for permission but we weren't able to make contact. In the event they were to reach out to us and request it, this will be taken down and as such this track will NOT be available for download. Should contact be made and permission given, the option to download will be offered.***

Season 3 - Episode 13 of the Audio Fanfic Podcast Release date: March 16, 2023 This podcast is not to be reproduced or redistributed without permission. © Audio Fanfic Podcast, 2020

ShoutOut volunteer Jenny Duffy speaks to Young Adult author and tarot reader Moïra Fowley about her writing, the importance of LGBTQ+ representation, her recommended YA reads and Moïra's Two Faced Tarot: a queer, inclusive tarot deck and workbook.

We're backkkk! Kicking off season six is this absolute whirlwind of an episode. With Scully and Mulder officially off the xfiles, Spender and Fowley take over in their place. of course, threatening to lose his job isn't enough to stop Mulder from finding the truth as he continues to investigate mysterious cases. Check out our links below! OUR MERCH STORE: https://teespring.com/stores/ufo-party-podcast JOIN OUR PATREON: https://www.patreon.com/ufopartypod BUY US A COFFEE! https://ko-fi.com/ufopartypod FOLLOW US ON INSTAGRAM: https://instagram.com/ufopartypod FOLLOW US ON TWITTER: https://twitter.com/ufopartypod EMAIL US YOUR STORIES: ufopartypod@gmail.com Thank you so much for showing support so we can spread love to the only good feds in the universe.

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

Jess and Dini travel back to November 1999 and recap Season 7 - Episode 1, The Sixth Extinction. Scully is in Africa and Mulder is going through some crazy brain stuff and Fowley's scary ass is lurking around every corner.It is a wild ride in the X-Files mythology. This episode was written by Chris Carter and directed by Kim Manners.Do you have any X-Files related theories, stories,  key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPod

This is a bonus episode, part of Pledge Week 2021. Patreon backers get one of these with every episode of the main podcast. If you want to get those, and to support the podcast, please visit patreon.com/andrewhickey to sign up for a dollar a month or more. Click below for the transcript. Today, we're going to look at a record that, like the record we looked at in the main podcast this week, has connections to Kim Fowley and to the Beach Boys, who covered it just as they did "Moon Dawg". But we're going to look at it as a way to say goodbye to Gaynel Hodge, who has appeared in so many of our previous episodes.   Hodge played piano on "Alley Oop", which we've done a bonus podcast on before, and which is also very briefly discussed in this week's main episode, and while I was writing that, I heard from a Twitter follower that he had died. We've already covered all the records we're going to look at in which he had a major involvement, so today we're going to look at another one on which he was just a session musician. This one is actually from 1962, when we're still in 1960 in the main podcast, but it's not jumping so far ahead that it's unreasonable, and I wanted to tip my hat to him with the last record he played on which I was planning on discussing -- if you remember the Patreon episode on "Little Bitty Pretty One", I said we'd be looking at Thurston Harris' backing group when we got to 1962. So today, let's look at "Papa Oom Mow Mow" by the Rivingtons:   [Excerpt: The Rivingtons, "Papa Oom Mow Mow"]   The history of the Rivingtons is a convoluted one, as the story of so many vocal groups is. They started out as a group called the Lamplighters, who were formed by Willie Ray Rockwell, who had been an original member of the Hollywood Flames. The first lineup of the Lamplighters also included Leon Hughes, who left before they started recording, to *join* the Hollywood Flames (Hughes of course later went on to join the Coasters). Hughes was replaced by Thurston Harris, and they made their first recordings for Federal records, with Ralph Bass and Johnny Otis. "Be-Bop Wino", their second single and the most impressive of these early recordings, was by a lineup of Rockwell, Harris, Al Frazier, and Matt Nelson:   [Excerpt: The Lamplighters, "Be Bop Wino"]   They also recorded backing Jimmie Witherspoon:   [Excerpt: Jimmie Witherspoon and the Lamplighters, "Sad Life"]   Various changes happened in the lineup, as people fell out with each other, got jailed for non-payment of child support, or just generally became too difficult to work with. For a while, the group became made up of Al Frazier, Carl White, Sonny Harris, and Matthew Nelson, and were recording, still for Federal, as the Tenderfoots:   [Excerpt: The Tenderfoots, "Kissing Bug"]   After four unsuccessful singles, Thurston Harris rejoined the group, and they became the Lamplighters again, recording a few more singles, starting with "Don't Make it So Good":   [Excerpt: The Lamplighters, "Don't Make It So Good"]   Then they decided to fire Harris again, as he was extremely unreliable. They took on a new singer, Rocky Wilson -- the lineup now was Al Frazier, Carl White, Sonny Harris, and Rocky Wilson. This lineup's first recording was backing, of all people, Paul Anka, on his first ever recording, a session paid for by Anka's father:   [Excerpt: Paul Anka, "I Confess"]   Lester Sill renamed the group The Sharps, and they started making records under that name, like "Six Months, Three Weeks, Two Days, One Hour":   [Excerpt: The Sharps, "Six Months, Three Weeks, Two Days, One Hour"]   They also backed their old bandmate Thurston Harris on his big hit "Little Bitty Pretty One":   [Excerpt: Thurston Harris, "Little Bitty Pretty One"]   Lester Sill started getting them backing vocal jobs -- it's them on "Rebel Rouser" by Duane Eddy:   [Excerpt: Duane Eddy, "Rebel Rouser"]   They briefly renamed themselves the Crenshaws, and released a record of the old standard "Moonlight in Vermont", this was a Kim Fowley production, and their first work with him:   [Excerpt: The Crenshaws, "Moonlight in Vermont"]   They then renamed themselves the Rivingtons -- still with a lineup of Frazier, White, Harris, and Wilson, and Kim Fowley got them to start recording novelty songs, with the normal group of people that Fowley used on novelty records, like Gary Paxton and Gaynel Hodge. Their first record, "Papa Oom Mow Mow", made the top fifty on the charts:   [Excerpt: The Rivingtons, "Papa Oom Mow Mow"]   There followed a variety of records with similar backing vocals, of which my favourite is the Coasters-flavoured "Kickapoo Joy Juice":   [Excerpt: The Rivingtons, "Kickapoo Joy Juice"]   But the only one to have any success at all was "The Bird's the Word", which went to number fifty-two on the charts, and was their only R&B hit, making number twenty-seven on the R&B charts:   [Excerpt: The Rivingtons, "The Bird's The Word"]   Shortly after that, their songs moved from the world of LA R&B groups into the world of surf music, through, of all people, a white group from Minnesota. The Trashmen put together a medley of the Rivingtons' two biggest hits, and called it "Surfin' Bird". Their record originally credited their drummer as the songwriter, but a few lawyers letters later the Rivingtons got the credit they deserved, as "Surfin' Bird" made number four in 1963:   [Excerpt: The Trashmen, "Surfin' Bird"]   That brought the Rivingtons' original recordings back to mind, for those surf groups like the Beach Boys who had also been influenced by the LA R&B vocal group scene, and "Papa Oom Mow Mow" entered the Beach Boys' regular setlist, and featured on their album Beach Boys Concert, which was the Beach Boys' first number one album, as well as the first number one live album by anyone:   [Excerpt: The Beach Boys, "Papa Oom Mow Mow"]   The Beach Boys loved the song, and it was also included on their Beach Boys Party! album, as well as on numerous live recordings that have been released on archive sets. To this day, the current touring Beach Boys perform part of the song during their extended performances of "Barbara Ann".   The Rivingtons continued to tour for many decades in various lineups. Unfortunately, they remained so obscure that I can't find much more about them after Carl White died towards the end of the seventies, though the other three continued at least into the nineties. There are no compilation CDs of their music in print, and you can only find their hits incongruously placed on various-artists surf albums. It's a shame, as their best recordings are as good as any doo wop out there.   The Rivingtons intersected with so many of the great musicians of the period -- Johnny Otis, the Hollywood Flames, Duane Eddy -- that it's really a shame their work is never placed in that context. But at least their hits *are* remembered, and there are very few records that can be more likely to bring pure joy to listeners.   And Gaynel Hodge, the piano player on their biggest record, will be remembered too.

Across its 17 tracks and 69 minutes, 'Pom Pom' is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade when cementing his name as a king of pop perversion. From demented kiddie tune collaborations with the legendary Kim Fowley (songs like 'Jell-O' and 'Plastic Raincoats In The Pig Parade' were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop ('Put Your Number In My Phone', 'Dayzed Inn Daydreams'), scuzz-punk face-melters ('Goth Bomb', 'Negativ Ed'), and carnival dub psychedelia ('Dinosaur Carebears'), pom pom could very well be Ariel Pink's magnum opus. - Rough TradeWebsite: anewwinter.netPatreon: patreon.com/anewwinterInstagram: @anewwinterTwitter: @anewwinterEmail: anewwinterpodcast@gmail.com or oddcastoddballs@gmail.comSam's Twitch Channel https://www.twitch.tv/legassiqueDan's YouTube Channel https://www.youtube.com/channel/UCDRTt17kVazujMJbxo688sA Support this show http://supporter.acast.com/anewwinter. See acast.com/privacy for privacy and opt-out information.

La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Poison es una banda estadounidense de Hard rock formada en Mechanicsburg, Pensilvania. Está formada por Bret Michaels (Voz, Guitarra rítmica y Armónica), C.C. DeVille (Segunda voz, Guitarra solista, Coros), Bobby Dall (Bajo, Teclados, Coros), y Rikki Rockett (Batería, Percusión, Coros). Fue popular desde mediados de 1980 hasta mediados de 1990, con más de 15 millones de álbumes vendidos en su país y más de 45 millones en todo el mundo. Poison es una de las bandas de Glam metal con más ventas de la década de 1980, siendo una de las agrupaciones más representativas de ese género. El estilo estrafalario en el vestir y del peinado de sus integrantes en los inicios de la banda atrajo a un gran número de seguidores, así como los vídeos musicales coloridos y con situaciones cómicas, siguiendo con la tendencia de otros grupos de gran éxito como Bon Jovi, Mötley Crüe, Europe, Ratt y Def Leppard. En total, desde que debutaron en 1986, la banda ha publicado siete álbumes de estudio, cuatro álbumes en vivo, ocho álbumes recopilatorios, y veintiocho sencillos. En 2015 VH1 los clasificó en el tercer puesto de su lista The Hair Metal 100: Ranking the ’80s Greatest Glam Bands. Poison inició su carrera musical en 1983 en la ciudad de Mechanicsburg, Pensilvania, Estados Unidos. De manera intencional Poison utilizó una imagen que recordaba a grupos como New York Dolls o Hanoi Rocks. París (el nombre inicial del grupo fue The Kidz, pero no duró mucho) se formó por iniciativa del vocalista Bret Michaels y el baterista Rikki Rockett, quienes se conocieron gracias a que Rikki era el estilista de la hermana de Bret. Ambos formaron parte de un grupo denominado The Spectres. Posteriormente reclutaron al bajista Kuykendall, mejor conocido como Bobby Dall y al exguitarrista de Dirty Angel, Matt "Ko Ko" Smith. Tomaron el nombre de Poison (veneno en español) de las acusaciones de las sectas religiosas, que los acusaban de ser un "mal veneno". Con esta alineación y ya con el nombre de Poison grabaron un demo, el cual incluía las canciones: "Rock Like a Rocker", "Razor's Edge" y "Steal Away". El legendario Kim Fowley (conocido por grabar los discos de The Runaways, entre otros más) convenció al grupo de mudarse a Tinseltown en marzo de 1984. Poison entonces se preparó para grabar lo que debía ser su álbum debut, sin embargo, las relaciones entre el grupo y Fowley no funcionaron y el proyecto quedó enlatado. Pese a todo, Poison empezó a presentarse en el circuito de clubs de Los Ángeles con todo su espectáculo. Poison (entonces manejados por Vicky Hamilton) no tardaría mucho de hacerse de un buen número de seguidores gracias al carismático Bret Michaels y de llamar la atención de la gente de Atlantic Records, para quienes la banda grabaría otro demo bajo el mando de Jim Faraci. Las canciones que formaron parte de este demo fueron: "#1 Bad Boy", "Want Some, Need Some" y "Blame It on You". Al final Atlantic decide no firmar a la banda. La frustración del grupo al no conseguir el contrato con Atlantic se incrementaría por la salida de Matt Smith. El guitarrista decidió dejar al grupo y regresar a Mechanicsburg para estar con su novia, quien estaba esperando el primer hijo de ambos. Más adelante Smith formaría parte de otra banda. De inmediato Poison realizó audiciones para encontrar a su nuevo guitarrista. Entre los postulantes se encontraba el guitarrista Slash, quien había audicionado por una recomendación de su amigo Matt, Bret votó por el debido a su estilo tipo Aerosmith pero Rikki y Bobby prefirieron a C.C. por el estilo más Van Halen, también debido a que Rikki le sugirió que debía de maquillarse y ponerse ropa más extravagante a lo cual el no aceptó, posteriormente Slash alcanzaría fama como guitarrista de Guns N' Roses. ​El elegido para el puesto fue el ex-St. James y Screaming Mini, C.C. DeVille. Finalmente con esta alineación, Poison estaba listo para sacar su álbum debut para la pequeña compañía Enigma Records, subsidiaria de Capitol Records. En 1986 lanzaron su álbum debut Look What the Cat Dragged In producido por Ric Browde. El material fue grabado en 12 días con un presupuesto de 23 mil dólares estadounidenses. Este álbum ha vendido más de 4 millones de copias en todo el mundo, siendo uno de los mejores álbumes debut en ventas de todos los tiempos. ​Lanzan en agosto su primer sencillo denominado «Cry Tough», sin embargo, este no tuvo tanto éxito que sus predecesores, con los hits: «Talk Dirty to Me», «I Want Action» y «I Won't Forget You», alcanzaron la notoriedad que deseaban. La fuerte rotación del vídeo de "Talk Dirty to Me" en MTV conseguirían colocar al disco en las listas del Billboard. Para promocionar el álbum, Poison salió de gira siendo telonero de grupos como Quiet Riot, Loudness y Cheap Trick. Por los Estados Unidos. Finalmente en 1986 realizan su primera gira mundial llamada Look What the Cat Dragged In Tour, contando con el apoyo de las bandas Ratt, Cinderella y Loudness. Por los Estados Unidos, Canadá y Japón, teniendo gran éxito en las presentaciones. Fueron nominados a Mejor Banda Nueva para los MTV Awards de 1987, también participan en el MTV New Year's el 31 de diciembre de 1987 interpretando "Rock and Roll All Nite" y I Want Action. En 1987 Poison grabó una versión de la canción "Rock and Roll All Nite" para la banda sonora de la película Less Than Zero. Una vez que la banda estuvo lista para entrar al estudio de grabación, surgió el rumor de que Paul Stanley (Kiss) sería el productor del segundo álbum del grupo (el cual en ese entonces tenía planeado titularse Swallow This). Estos rumores empezaron a circular desde que el vocalista de Kiss tocara junto a Poison durante el Texxas Jam '87, aunque no se concretó la participación de Stanley. En 1988, la banda lanza su segundo álbum titulado Open Up and Say... Ahh!, producido por Tom Werman (Cheap Trick, Mötley Crüe). El arte de la portada del álbum fue controversial, ya que representa una figura femenina demoníaca con una larga lengua obscena. La versión de la portada fue censurada, centrándose únicamente en los ojos de la figura. El álbum vendió más de 12 millones de copias en todo el mundo, siendo este el álbum más exitoso de la banda en lo que lleva de carrera. El disco incluyó los éxitos: «Every Rose Has Its Thorn», «Nothin' but a Good Time», «Fallen Angel» y «Your Mama Don't Dance», de Loggins and Messina. También se grabaron videoclips para las canciones "Every Rose Has Its Thorn", "Nothin' but a Good Time", "Your Mama Don't Dance" y "Fallen Angel". En la gira Open Up and Say Ahh! Tour contaron con el soporte de grupos y solistas como David Lee Roth, Tesla, Lita Ford y Britny Fox. En el MTV New Year's de 1988, Poison interpretó éxitos como "Fallen Angel" y "Every Rose Has Its Thorn". Recibieron el premio a la Mejor Banda del Año. A partir de 1989, Poison se había convertido en la séptima banda de Hard rock con más ventas en los EE. UU., tan solo detrás de Mötley Crüe, Def Leppard, Bon Jovi, Guns N' Roses, Aerosmith y Van Halen. En este mismo periodo la banda se vio envuelta en un escándalo cuando Bryn Bridenthal, directora de publicidad de Geffen Records, impuso una demanda de 1,1 millones de dólares a la banda por haberla empapado con bebidas alcohólicas dentro de una fiesta. Por otro lado, Sanctuary Music, la antigua compañía de administración del grupo, presentó una demanda de 45,5 millones de dólares por incumplimiento de contrato en contra de la banda. Poison respondió a la demanda con cargos de malversación de fondos. Los conflictos judiciales a Michaels le trajeron nuevas demandas en Atlanta, Los Ángeles y Tallahassee. A principios de 1990 salió a la venta el primer videohome del grupo titulado Sight for Sore Ears. Este vídeo incluía los ocho vídeos de Poison extraídos de sus dos primeros discos, además de comentarios del propio Bret Michaels. En ese mismo año, Poison daría sus primeros conciertos en Reino Unido. La banda se presentó en el Marquee Club de Londres y el Rock City en Nottingham. Posteriormente se presentarían ante más de 72.000 fanáticos como parte del festival Monsters of Rock junto a Whitesnake, Aerosmith, The Quireboys y Thunder. Este evento fue transmitido por la BBC Radio 1. El tercer álbum de la banda llegó en 1990 y se llamó Flesh & Blood; el cual fue producido por el mega-productor Bruce Fairbairn, conocido por sus trabajos con Bon Jovi y Aerosmith). Ya para este entonces, Poison había dejado a un lado la imagen 'Glam' con la cual se dieron a conocer. El álbum también cuenta con una portada alternativa, ya que el original tenía lo que parecía recorrer tinta o posiblemente sangre del tatuaje. (Versiones posteriores de esta portada retiraron la tinta "extra"). Este disco también fue multi-platino, vendiendo más de 8 millones de copias en todo el mundo, siendo el segundo disco más vendido de Poison. De este disco sobresalieron los sencillos: «Unskinny Bop», «Ride the Wind», «Life Goes On», «Something to Believe In», (esta fue escrita por Bret Michaels tras la muerte por sobredosis de Kimo Maano, uno de los guardias de seguridad de Poison), también como quinto y último sencillo del álbum lanzaron «(Flesh & Blood) Sacrifice» a finales de 1991.El vídeo de "Flesh & Blood (Sacrifice)" fue prohibido en MTV debido a su alto contenido explícito, pero más tarde salió a la luz a principios de 1991 en su segunda compilación de vídeo, Flesh, Blood, & Videotape. En 1990 se dio inicio a la gira Flesh & Blood World Tour, teniendo como invitados inicialmente a Warrant, hasta que las fricciones entre ambas bandas, forzaron a esta última a tener que retirarse en pleno tour, en medio de una guerra de declaraciones. Entre los otros grupos y solistas que participaron durante esta gira estuvieron Don Dokken, Alice In Chains, BulletBoys, Trixter y Slaughter. Dando conciertos en diferentes partes del mundo, el concierto de Reno Club en Reino Unido resultó ser uno en particular especial cuando se les unieron en el escenario Jimmy Page (Led Zeppelin) y David Coverdale (Whitesnake). También en 1990, Poison apareció en el programa MTV Unplugged haciendo versiones acústicas de temas como "Talk Dirty to Me", "Your Mama Don't Dance", "Unskinny Bop" y "Every Rose Has Its Thorn". ​Poison recibió una carta del Secretario de Defensa de los Estados Unidos, Dick Cheney, agradeciendo a la banda por contribuir con 20.000 copias del álbum Flesh & Blood para levantar la moral de las tropas de EE. UU., durante la Guerra del Golfo y su continuo apoyo a las Fuerzas Armadas. Para mediados de 1991 las tensiones en el interior del grupo empezaron a incrementarse forzando al grupo a tener que admitir que tanto Bobby Dall como C.C. DeVille se encontraban en clínicas de rehabilitación por su adicción a las drogas. El grupo canceló varias presentaciones, dando origen a los rumores sobre la posible disolución de la banda, en especial tras la cancelación de un festival en Islandia. En esta ocasión DeVille se molestó porque según él, no fue informado de la cancelación de este evento y tomó un avión para asistir a la presentación. Finalmente la ruptura de C.C. con el grupo se daría durante una presentación especial para la cadena MTV, en la que la banda debía interpretar la canción «Unskinny Bop». Pero C.C. DeVille, con el cabello teñido de rojo y bajo los efectos de la droga, se rehusó a tocarla. En los ensayos para la entrega de los premios interpretaba mal la canción. Cuando llegó el momento de tocarla en la entrega (con difusión televisiva a nivel mundial), C.C. DeVille empezó a tocar el acorde de otra canción. El resto de la banda se vio obligada entonces a tocar la canción «Talk Dirty to Me», cambiando lo inicialmente planeado. Durante el show, DeVille no tocó bien, pisó su cable y lo desconectó mientras su presentación en vivo seguía. Las cosas empeoraron cuando C.C. DeVille llegó a los golpes con Bret Michaels en los camerinos, dando como resultado su expulsión de la banda. En noviembre salió a la venta el disco doble Swallow This Live. Para promocionar este nuevo álbum se tenía pensado un video para la canción «So Tell Me Why», en el cual se incluía a todo el grupo. Sin embargo, tras la salida de C.C., en el vídeo solo aparece Bret Michaels. Luego de su salida, DeVille inició un grupo de Jazz fusión denominado The C.C. DeVille Experience. A los pocos meses después, el guitarrista se encontraba trabajando en un nuevo proyecto con el baterista Carmine Appice (Vanilla Fudge, Cactus, King Kobra) y el bajista Jimmy Bain (Rainbow, Dio). Este proyecto no duraría mucho y terminó para el año de 1992. Por su parte Bobby Dall ponía al resto del grupo en un descanso obligatorio al lastimarse sus dedos en un accidente. El bajista aprovechó su tiempo para dedicarse a su primer hijo, Zachary Brandon Dall, quien acababa de nacer. Además en ese lapso llegó a producir al grupo originario de Los Angeles, Rozy Coyote. Bret Michaels por su parte aprovechó su tiempo libre tocando junto al grupo Hollywood Gutter Cats, además de componer y producir el álbum de debut de su novia Susie Hatton, Body and Soul. Michaels también colaboró durante ese tiempo con algunas canciones para Stevie Nicks y Tuff, además de participar como actor invitado en la serie de televisión "Burke's Law". Poison se encontraba bajo la presión de su disquera para conseguir un nuevo guitarrista y para el lanzamiento de un nuevo álbum por lo cual optaron por elegir entre Warren DeMartini de Ratt, Nuno Bettencourt de Extreme, Steve Stevens de Billy Idol y George Lynch de Dokken. A esta lista de guitarristas experimentados se sumaron también los jóvenes Blues Saraceno y Richie Kotzen. El elegido fue Blues Saracenel cual rechazó la propuesta, se propuso también a Steve Stevens y finalmente, optaron por el guitarrista Richie Kotzen. Poison entró al estudio con su nuevo guitarrista para grabar su nuevo álbum, originalmente titulado Resurrection, bajo la producción de Richie Zito. En 1993 sacaron su cuarto disco de estudio, llamado Native Tongue. Este trabajo del grupo fue una sorpresa para los fans debido a que el nuevo sonido del álbum estuvo orientado completamente al género Blues rock. Esto marcó un cambio para la banda, ya que abandonaron sus melodías tipo himno de fiesta para centrarse en temas más serios y trascendentes. El álbum recibió comentarios positivos por parte de críticos especializados. Native Tongue logró vender más de 1 millón de copias a nivel mundial. Se promocionando tres sencillos: «Stand», (el cual contaba con la participación del coro de la Iglesia A.M.E., mismos que aparecen en el videoclip), «Until You Suffer Some (Fire and Ice)» y «Body Talk». El vídeo de "Stand" estuvo dentro de los primeros 10 en el programa MTV's Most Wanted. El segundo sencillo, "Until Suffer Some (Fire and Ice)" se colocó dentro del Top 20 del Billboard Hot 100. Pese a tener todo en contra, Poison se embarcó de nueva cuenta en su gira llamada Native Tongue World Tour, teniendo como teloneros a bandas como Damn Yankees, Firehouse y Wild Boyz. Dieron conciertos por los Estados Unidos e Inglaterra, y la banda apareció en programas como el de David Letterman y Arsenio Hall. La presentación de Poison en el Hammersmith Apollo en el Reino Unido fue filmada para ser editada en un nuevo videohome, el cual fue titulado Seven Days Live. Durante el concierto de Hammersmith Apollo surgieron ciertos conflictos entre Rikki Rockett y Richie Kotzen, ya que Rockett se enteró que Kotzen empezó a salir secretamente con su prometida, además de que a Richie no le gustaba mucho la idea de "pertenecer" a un grupo, todo esto dio como resultado que Kotzen fuera despedido de la banda. Rápidamente entró al relevo Blues Saraceno para terminar los últimos dos meses de conciertos. Para promocionar el disco salen otra vez de gira mundial encontrándose con Aerosmith, Warrant y Cinderella en algunas fechas. El guitarrista Kotzen regresó a su carrera como solista y al momento de salir de Poison se estuvo comentando la posibilidad de entrar al grupo The Black Crowes. Esto nunca sucedió, pero para 1999 entró a Mr. Big en lugar de Paul Gilbert. El guitarrista Blues Saraceno entró para reemplazar a Richie Kotzen ya hacia finales de 1993, Saraceno fue la primera elección para sustituir a C.C. DeVille. Junto con el nuevo guitarrista, salieron de gira por primera vez a Latinoamérica, dando una serie de conciertos en México, Brasil, Chile y Argentina con gran éxito. Después de esta gira de tres semanas, Saraceno fue anunciado de manera oficial como parte de Poison. Pronto se iniciaron los planes para un nuevo álbum. Por su parte, DeVille firmó un acuerdo con Hollywood Records, la compañía propiedad de Disney. El guitarrista formó una banda con el exbaterista de Kingdom Come, James Kottak y el bajista original de Warlock, Tommy Henriksen. DeVille tenía pensado como vocalista a Mats Levén (Treat, ex-Swedish Erotica) para completar el grupo pero el proyecto finalmente se disolvió. DeVille también formó otro grupo llamado Needle Park, con los ex-Sweet Savage, el vocalista Joey C. Jones y el bajista Adam Hamilton, pero este grupo también tuvo una duración bastante corta. Adam Hamilton regresó al grupo Joe 90 y posteriormente formaría parte de L.A. Guns. Poco después, DeVille volvió a su tratamiento para librarse de la adicción a las drogas, el cual seguiría por varios años. Bret empezó a trabajar en una película que el mismo había escrito, A Letter from Death Row, la cual sería acompañada por su respectivo álbum. No hacía mucho que Bret había hecho su debut como actor haciendo el papel de una estrella de rock llamado Roger Cooper para la serie dramática Burke's Law. A Letter from Death Row fue producida junto con su socio, el actor Charlie Sheen, quien hace una aparición especial dentro de la película al igual que su padre Martin Sheen. Michaels también estuvo en la mira de los tabloides al empezar a salir con la estrella de Baywatch, Pamela Anderson. La pareja incluso inició un negocio juntos al abrir un restaurante en asociación con el actor de Picket Fences, Costas Mandylor. El escándalo no fue ajeno a la pareja cuando se empezó a difundir un vídeo de ambos teniendo relaciones sexuales. El hecho inició una serie de batallas legales para demandar el responsable de la comercialización de este vídeo. Michaels no duraría mucho con Pamela y al poco tiempo la actriz iniciaría una nueva relación con el baterista de Mötley Crüe, Tommy Lee. Poison entró a los estudios para grabar su quinto álbum, Crack a Smile, bajo la producción de John Purdell y Duane Baron, reconocidos por su trabajo con Ozzy Osbourne y Alice Cooper. Este nuevo disco fue realmente satisfactorio para los integrantes de Poison, logrando llevar más allá el sonido obtenido en Native Tongue pero sin perder el toque distintivo de Poison. Crack a Smile tenía sencillos potenciales, como la canción acústica "Best Thing You Ever Had", "Doin' as I Seen on My TV", "That's the Way (I Like It)", "Sexual Thing", "Mr. Smiley" y la versión de Dr. Hook & the Medicine Show, "Cover of the Rolling Stone". Para mala fortuna y pese a la gran calidad de este nuevo álbum, Capitol Records optó por enlatarlo y en su lugar editó la recopilación Poison's Greatest Hits: 1986–1996, la cual incluía todos los grandes éxitos de Poison además de los temas "Sexual Thing" y "Lay Your Body Down" de las sesiones de Crack a Smile como Bonus tracks. La decisión de Capitol fue muy decepcionante, tanto para el grupo como para los fanes. Algunos seguidores lograron hacerse de copias de este álbum, convirtiéndose en una pieza muy preciada por los coleccionistas y usuarios del Internet. Durante un buen tiempo este álbum fue conocido como "The Lost Album" (el álbum perdido). Con el disco de éxitos en el mercado en lugar del que habían grabado, Poison decidió tomarse un descanso. Blues Saraceno optó por salir de la banda para dedicarse a otros proyectos. Uno de ellos fue el grupo Gorgeous George, el cual formó poco después de su salida del grupo. Saraceno también estuvo durante un corto tiempo en la banda de heavy metal UFO antes de que estos regresaran con su guitarrista original, Michael Schenker. Por su parte Rikki Rockett se mantuvo ocupado dentro del mundo de los Comic. Entre los años 1995 y 1996, Rikki puso a la venta la serie "Sisters of Mercy", en donde los personajes principales estaban inspirados por su novia Malina y su hermana Mariah. Se planeó también una línea de figuras de acción inspiradas por la serie. Próximo a editar la película A Letter from Death Row y su respectiva banda sonora, Michaels siguió con su interés en el mundo del cine, haciendo apariciones especiales en películas como In God's Hands, filmada en locaciones en Bali. Michaels también tenía programado aparecer en Celebrity Pizza, Last Child (junto a Martin Sheen, Charlie Sheen y Tía Carrere), además de un episodio de la serie erótica de televisión "Red Shoe Diaries" junto con su novia, la actriz y modelo Kristi Gibson. El 16 de agosto de 1997, Michaels dio su primer concierto como solista en el club Billboard Live en el Sunset Strip de Hollywood y estrenó material de su álbum como solista. La banda que lo acompañó en ese momento estaba formada por los guitarristas Cliff Calabro y Gabriel Moses, el tecladista Lorenzo Pryor y el baterista Brett Chassen. Finalmente para el verano de 1998, Michaels editó el álbum A Letter from Death Row bajo su propia compañía, Poor Boy. En el disco participaron sus compañeros en Poison, C.C. DeVille y Rikki Rockett. Para 1998 C.C. DeVille ya estaba de vuelta en Poison por lo que surgieron los rumores sobre una posible gira junto a Whitesnake, Def Leppard y Mötley Crüe, aunque fue hasta 1999 cuando finalmente se organizó la gira Greatest Hits World Tour, teniendo como bandas teloneras a Ratt, Great White y L.A. Guns. La reunión coincidió con el reconocimiento otorgado por la BMI a la canción "Every Rose Has Its Thorn" por ser tocada más de un millón de veces por la radio americana. También para ese entonces el álbum Poison's Greatest Hits: 1986–1996 llegaba al millón de copias vendidas, superando por mucho a discos similares de sus contemporáneos. Con esto, Poison sobrepasaba los 10 millones de discos vendidos tan solo en los Estados Unidos. En ese mismo año, se estrenó por la cadena VH1 el especial "Behind the Music" de Poison, en el cual sus integrantes contaban su propia historia desde sus inicios y con todos sus problemas. El especial contaba con escenas en vivo grabadas durante un concierto en Detroit de su actual gira. El programa fue visto por 5,1 millones de televidentes el día de su estreno. Durante esta gira se grabaron un par de conciertos con la intención de editar un nuevo álbum en directo, en el cual se incluirían 5 temas nuevos de estudio. El título inicial de este álbum fue Live Plus 5. Para los temas de estudio se estuvieron manejando los nombres de diversos productores, entre ellos el de Bob Ezrin (Pink Floyd, Alice Cooper, Kiss) pero finalmente la producción correría a cargo del productor Richie Zito quien trabajó con ellos previamente en el álbum Native Tongue. Para cuando la gira terminó, C.C. ya había formado un nuevo grupo llamado The Stepmothers, firmando contrato con Portrait Records la cual era dirigida por el gurú del AOR, John Kalodner para Sony Music. Poco después DeVille le cambió el nombre a Samantha 7. La insistencia de DeVille para que su nuevo grupo formara parte de la siguiente gira de Poison, creó nuevas fricciones dentro de la banda, dando por resultado la salida por segunda vez del guitarrista. De inmediato se rumoreó la inclusión de Tracii Guns (L.A. Guns) en la banda, pero un par de semanas después C.C. DeVille estaría de regreso. A la par, Rockett empezó con los preparativos de un álbum de covers con temas de conocidas bandas de Glam rock de los setentas. Bajo el título de Glitter for Your Soul, Rikki invitó a diferentes músicos para que lo asistieran en esta nueva aventura, entre ellos Bret Michaels, Blues Saraceno, Chuck Garric (bajista de Dio), John Corabi (Union, ex-Mötley Crüe) y Jizzy Pearl (Love/Hate, L.A. Guns, Ratt). El 2000 vería por fin la salida del denominado "álbum perdido". Crack a Smile... and More! salió a la venta gracias al interés que había despertado Poison en los últimos años y a la insistencia de los fanes para que este álbum fuera editado de manera oficial. Además de los 12 temas que originalmente formaban el disco, se incluyeron los temas "One More for the Bone" y "Set You Free", además de un demo sin finalizar de estas mismas sesiones. También apareció en este álbum la canción "Face the Hangman" la cual era originalmente un lado B del álbum Open Up and Say... Ahh! editado solo en Europa y también 4 de los 6 temas interpretados en el MTV Unplugged de 1990. Poison también dio a conocer el álbum en vivo Power to the People bajo el propio sello de la banda, Cyanide Music. Fue su primer disco con DeVille en nueve años. El álbum contenía cinco nuevas canciones de estudio: "Power to the People", "Can't Bring Me Down", "The Last Song", "Strange" y "I Hate Every Bone in Your Body but Mine", este último marcaba el debut en la voz principal de C.C. DeVille en un álbum de Poison. El resto del álbum contó con las actuaciones en directo de la gira Greatest Hits World Tour en 1999. Seguido de una nueva gira de Power to the People Tour, ahora con los grupos Cinderella, Dokken y Slaughter como teloneros. La alta asistencia de público llamó la atención de propios y extraños, demostrándole a muchos detractores que Poison podía llenar grandes arenas, mientras que muchos artistas de moda no lo podían hacer. Durante uno de los conciertos Poison filmó su primer vídeo en más de 6 años para la canción "Power to the People". Dicho vídeo pudo ser visto únicamente vía Internet. En ese mismo año salió a la venta el álbum tributo Show Me Your Hits: A Salute to Poison, producido por el propio Bret Michaels y que contaba con la participación de artistas como Bruce Kulick (Union, ex-Kiss), Slaves on Dope, el actor Pauly Shore (con una cómica versión de "Unskinny Bop"), Total Chaos, Mark Kendall (Great White), entre otros más. Para el final de la gira, DeVille y su banda Samantha 7, ya tenían su álbum a la venta y una gira por diversos clubs de la unión americana e incluso algunos lugares en el Reino Unido y Europa. Lamentablemente el álbum no tuvo la respuesta esperada y a la banda le fue terminado su contrato junto a otros artistas firmados por Portrait Records como Cinderella y Pat Benatar. El 2001 Poison también tendría una gira para el verano, la gira Glam, Slam, Metal Jam Tour, con la participación de Warrant, Quiet Riot, Enuff Z'Nuff, además de Vince Neil, Great White y BulletBoys en algunas fechas selectas. La inclusión de Warrant en la gira de Poison fue emocionante para muchos fanes, pero quedó claro que las diferencias entre ambas bandas aún estaban presentes. El baterista Rikki Rockett tuvo algunos altercados con el baterista de Warrant, Mike Fasano. Este tour daba inicio durante el mes de mayo en Texas, la gira incluía una parada en el festival Little River Rockfest junto a grupos del prestigio de Styx y Survivor. Durante este año Poison sólo editó una canción para promocionar la gira, "Rockstar", la cual estuvo disponible de manera gratuita a través de su website. Por su parte, Capitol Records puso a la venta un DVD titulado Poison Greatest Video Hits, con todos los vídeos hechos por Poison incluyendo el de la canción "Power to the People". Para mala fortuna del grupo, al transcurrir la gira, el bajista Bobby Dall tuvo que ser intervenido quirúrgicamente de emergencia debido a una lesión en la parte alta de la espalda en el Centro Médico de la Universidad de Nebraska. Un total de 22 conciertos tuvieron que ser cancelados debido a esta razón. A Bobby Dall le fue ordenado reposo total durante un lapso de casi 5 meses. Para finales de este año, Poison ya se encontraba en el estudio de grabación preparando su primer álbum de estudio completo junto a C.C. DeVille en más de una década. Casi a la par, Bret Michaels estuvo trabajando en su nuevo álbum como solista, que saldría después del de Poison. Producido por Thom Panunzio, Hollyweird salió a la venta en la primera mitad del 2002. El primer sencillo de este álbum fue un cover de The Who, "Squeeze Box". Esta canción la solía tocar Poison en sus inicios, cuando aún eran conocidos como París. El álbum fue recibido con reacciones diversas por parte de los críticos y de los fanes. "Squeeze Box" se colocó de manera regular en las estaciones de radio del género. Para la gira correspondiente nombrada Hollyweird World Tour, Poison volvió a tener a Cinderella y haciendo su aparición por primera vez estuvieron Winger y Faster Pussycat. La gira inició el 16 de mayo en Tupelo. Por cuarta ocasión, la gira fue un éxito. En Clarkston, Míchigan tuvieron una asistencia de 15 mil personas y en Milwaukee, Wisconsin de 13 mil. La influencia de Poison en las bandas nuevas quedó de manifiesto cuando en el PNC Bank Arts Center en Holmdel, Nueva Jersey, los cuatro integrantes de la banda de Nu metal, Drowning Pool, subieron junto a Poison al escenario para una versión del clásico de Kiss, "Rock and Roll All Nite". Durante un show en Atlanta el 25 de agosto del año 2006, Bret Michaels y Bobby Dall tuvieron que ser separados por los miembros del equipo seguridad, después de que ambos llegaran a los golpes, justo antes de los coros. La pelea se originó cuando Michaels le lanzó su micrófono, y Dall respondió, dándole un golpe con el bajo en la pierna derecha ocasionándole una lesión en la rodilla. Minutos después Michaels declaró lo siguiente: "Es posible que hayan visto el último concierto de Poison en su formación actual". El altercado ocurrió antes de que la banda terminara de tocar "Talk Dirty to Me". Después de algunos momentos de tensión Michaels se disculpó con la multitud concluyendo su explicación de que "como hermanos, a veces hay que airear las cosas", la banda terminó el concierto. Dall dejó el escenario de inmediato. Ha habido muchos conflictos físicos dentro de la banda, pero esta fue la primera en el escenario ya que la pelea entre Michaels y DeVille en los MTV Video Music Awards de 1991 fue en los camerinos. La banda se tomó un descanso mientras Michaels continuó con su gira en solitario. Para 2007, y gracias a una sugerencia de Capitol Records, Poison entró al estudio a grabar un disco de covers que se titula Poison'd!, bajo la producción de Don Was. Este disco contiene versiones de Alice Cooper, The Romantics, Sweet, David Bowie, The Rolling Stones, The Cars, Kiss, The Who y Tom Petty, entre otros. El 2 de agosto de 2007 la banda grabó una presentación en el Verizon Wireless Ampitheatre en St. Louis, Missouri, Estados Unidos. Esta presentación fue exhibida en la cadena HDNet y también lanzada en formato DVD el 15 de julio de 2008 bajo el título Live, Raw & Uncut. El 15 de enero del año 2008, Poison es confirmado para formar parte del Rock2Wgtn Festival en Willington, Nueva Zelanda, los días 22 y 23 de marzo. Poison actuó el 23 de marzo, iniciando la fecha final del festival junto a Ozzy Osbourne, The Symphony of Screams, Whitesnake y Sonic Altar. En 2009 hicieron una gira llamada Summer Tour con Def Leppard y Cheap Trick, en Estados Unidos y Canadá. También lanzaron Poison – Box Set (Collector's Edition). Para junio de 2011 la banda participó de una gira llamada Glam-A-Geddon 25 Tour, celebrando sus 25 años de trayectoria artística en compañía de Mötley Crüe y New York Dolls. También para conmemorar dicho aniversario, se lanzó Double Dose: Ultimate Hits, un nuevo compilado que consta de dos discos compactos y una colección digital que se publicó el 3 de mayo de 2011 por Capitol/EMI

A Love Letter To LA - with The Standells, Seeds, Zappa, Fowley, The Whatt Four, A Joint Effort, Caretakers Of Deception and more. [supported by NZ on Air]

Dodgers win the World Series and beat the Rays in game six! We break down what went down in game six and what we thought stood out. Cut to the 33:00 minute mark to listen to our interview with Aimée Fowley. She has her own podcast called "Straight From The Dugout". Be sure to check it out at (https://open.spotify.com/show/1OeqZKyvqxn8umk00wu1L4?si=Sz3ZPdxbQWeRSEUVN74kaA)! --- Send in a voice message: https://anchor.fm/chase-avery/message

004 Fourth Floor Elevators: All Hallows' Eve Selections Part One01 Larry's Rebels - Halloween (New Zealand 1968) Quite a success in their homeland, this quintet laid down many fine singles and an album during their brief four year span. This fun Halloween theme isn't quite spooky, but the earnest vocal and hilarious sound effects give it a bizarre appeal that could only come from the 60's.02 The Rattles - The Witch (Germany 1969) This German band's career spans four decades beginning with the early 60's beat boom. Their psychedelic work is laced with hard rock as heard on this scorcher featuring sound effects that too sound like a hoot to make in the studio with a head full of hashish.03 Griffin - I Am The Noise In Your Head (UK 69) One-off band that features members of Skip Bifferty and Bell + Arc plus future Yes drummer Alan White. This demented number is a perfect example of the pre-hard rock that many long haired bands would pursue before fully committing to the sound or seeking more progressive pastures.04 Alice Cooper - Fields of Regret (US 1969) Before finding success with his brand of shock rock, Alice Cooper was a band led by Vincent Furnier who would later adopt their name as his government. This epic piece from their debut shows a band worshiping at the altar of Syd-era Pink Floyd while being freshly influenced by label boss Frank Zappa's twisted form of virtuoso rock.05 The Doors - My Wild Love (US 1968) This "work song" styled dirge by the LA kings of doom laden psychedelia features no instruments from the band, as they grew tired of trying to make the music work and opted instead to clap, stomp and hum their way through the backing track. The result is one of their most haunting and unique songs.06 Fever Tree - Death is the Dancer (US 1968) This Houston band's sound grew from their folk rock beginnings into an organ driven psychedelic stew that they cooked across four albums and numerous singles. This proto-prog number incorporates a bit of a Doors influence but beefs up the rhythm section a few decibels.07 St. John Green - Goddess of Death (US 1968) Exploito psych at its finest produced by shady LA scenester Kim Fowley and West Pop Experimental Pop Art Band member/producer Michael Lloyd. Encouraged by Fowley to explore the "Canyon Sound" that he was pushing on bands at the time, these Pasadena based misfits produced one of the earliest forms of occult rock ever released.  08 Les Sauterelles - Heavenly Club (Switzerland 1968) A smash hit in their homeland, this Swiss band produced two albums and a few singles of beat and pop-psych before calling it quits in 1969. This Bee Gees inspired tune is a strange story of a man's near death experience that leaves him insane and features such a soaring chorus that the nonsensical lyrics are easily forgiven.09 The Salt - Lucifer (US 1968) A funky pop ode to Beelzebub by an alias of bubblegum producer Joey Levine, who was also in Ohio Express and wrote their classic hit "Try It".  This song proves that the most skilled pop songwriter can take the darkest of subject matter and produce an ear worm.10 The Flying Machine - The Devil Has Possession of Your Mind (UK 1969) Though the title suggests possibly the darkest psych single ever recorded, we instead find another bubblegum tune that draws parallels between the man downstairs and a cheating lover. This band started life as Pinkerton's Assorted Colours and specialized in breezy UK harmony pop.11 Childe Harold - Brink of Death (US 1968) Truly warped in every sense of the word, this cover of Bert Sommers' downer masterpiece features every production trick available at the time plus some.  The band seems to be an alias project by electronic wizard Wendy Carlos.All songs recorded from vinyl and curated by Elvin Estela.

Hey!! Join me tonite on Intoxica! I’ll play some leftover Kim Fowley stuff, new things I’ve picked up & other great junk! Let’s all be lonely...together!!! On Intoxica radio... 9pm Karloffornia time at www.luxuriamusic.com ...art by Mike Diana. #rocknroll #records #rhythmandblues #garagerock #surf #horror #weird #mikediana #mikediana

Intoxica is live tonight! And it’s Mister Outrageous aka Animal Man aka Lance Romance aka Jimmy Jukebox aka Dog Boy ...this could go on for many paragraphs it’s Kim Fowley’s birthday! So as you can see in the wonderful art by Les Toil, Dr. Fowley & I are getting it together for a Fowley freakout! A rubber room record riot! So join me tonite at 9pm Karloffornia time at www.luxuriamusic.com ...stay teenage! #kimfowley #rocknroll #animalman #rhythmandblues #doowop #surf #garagerock #weirdhorriblemusic #lestoil Sorry I think maybe a minute of the ending was clipped...

Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at "LSD-25" by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers' lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on "Papa Oom Mow Mow" by the Rivingtons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence's autobiography , a book about John Dolphin by his son, and He's A Rebel, a biography of Phil Spector by Mark Ribkowsky.  But more than anything else, I used the self-published books by Stephen McParland,  who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. "LSD-25" is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, "Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux". The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, "LSD-25"] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single "Moon Dawg", backed by "LSD-25", by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I've been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can't all be true, so I'm going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I'm talking about could very easily not have been the people on the record. I have also made mistakes about this single before -- there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is -- or was, as many of them have died -- a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved -- those who haven't said that everything was them and they did everything -- were for the most part jobbing musicians who, when asked about the record, would not even be sure if they'd played on it, because they played on so many records, and weren't asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn't entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I've been able to track down, in 2001, so Venet's lies went unchallenged, and many books still claim that Weaver never existed. So today, I'm going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we're talking about. I'm going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years -- Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father's daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry -- who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school -- Berry's neighbour Bruce Johnston on piano, Torrence's neighbour Sandy Nelson on drums, and Nelson's friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people's mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson's case he was sacked by Berry for playing his drums so loud -- as he packed up his kit for the last time, he told Berry, "You'll see, I'm going to have a hit record that's *only* drums". Slowly they were whittled down to three people -- Berry, Torrence, and Ginsburg, with occasional help from Berry's friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He'd discovered that if he did six months' basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, "Jennie Lee"] He was surprised to hear it, and also surprised to hear it credited to "Jan and Arnie" rather than "the Barons". He called Berry, who told him that no, it was a completely new recording -- though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there'd been a problem with the tape, and he and Arnie had decided to rerecord it. He'd then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it -- and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day's husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn't believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend's party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin's best friend Ryan O'Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn't quite make them bigger than the Everly Brothers, but for a while they were almost as big -- at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with "The Purple People Eater", and number three was Jan and Arnie with "Jennie Lee". And Dean Torrence was off in the Army, regretting his choices. We'll be picking up on what happened with those three in a few months' time... But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar...), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income -- that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he'd get the band in, and he'd invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley's would be outside breaking into the partygoers' cars and stealing their stuff. But then Fowley got arrested -- according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We've talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin's of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we've covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out "Walkin' Stick Boogie", by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, "Walkin' Stick Boogie"] He also owned a publishing company, which owned the publishing on "Buzz Buzz Buzz" by the Hollywood Flames: [Excerpt: The Hollywood Flames, "Buzz Buzz Buzz"] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin's labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn't be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they'd go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What's definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin -- one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn't going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn't have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA -- in particular, they were the house band at Art Laboe's regular shows at El Monte stadium -- the shows which would later be immortalised by the Penguins in "Memories of El Monte". [Excerpt: The Penguins, "Memories of El Monte"] But then the group's piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy's group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn't stay long in the Flips, though -- he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy's sax player Jim Horn, that recorded "Rumble Rock": [Excerpt: Kip Tyler, "Rumble Rock"] Nelson's departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he'd got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib's girlfriend's younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called "To Know Him Is To Love Him", inspired by the epitaph on Spector's father's grave: [Excerpt: The Teddy Bears, "To Know Him is to Love Him"] Sandy Nelson played the drums on that, and the track went to number one. I've also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn't a bass player, so this seems unlikely. Even though Nelson's playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent's "Crazy Times" LP: [Excerpt: Gene Vincent, "She She Little Sheila"] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It's not as fun as it sounds. A songwriter friend of Fowley's named Nik Venet is credited with writing "Geronimo", although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said "There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples... I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit." Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, "Geronimo"] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, "Bumbershoot"] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig -- the band's concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters -- but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we'll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister's boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, "The Other Side of Town"] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, "Bad Baby Doll"] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart's own label (under the misspelled name Darry Weaver), and Capehart was Weaver's manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point -- Mike Deasy had gone on to join Eddie Cochran's backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson's "single that was only drums". It wasn't quite only drums -- as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, "Teen Beat"] "Teen Beat" went to number four on the charts, and Nelson had a handful of other hits under his own name, including "Let There Be Drums". Less successful was a ballad released under the name "Bruce and Jerry", released on Arwin records after the owner's son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. "Take This Pearl" was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, "Take This Pearl"] "Take This Pearl" by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry... Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all -- and given that this is about the only record in the history of the world that Fowley ever said he *wasn't* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don't know if anyone's ever asked James Burton about it, but it doesn't sound like him playing. Given that the A-side is called "Moon Dawg", that Weaver and Taylor were in a band called The Moondogs that used to play a song called "Moon Dog", and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber's list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson -- probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, "LSD-25"] That song is called "LSD-25", and while we have said over and over that there is no first anything in rock music, this is an exception -- that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it's very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) -- they've said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with "a close musician friend" -- who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, "Moon Dawg"] "Moon Dawg" was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we've mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, "Alley Oop", under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, "Alley Oop"] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that "Moon Dawg" became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got "Moon Dawg" stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys -- Larry Taylor's brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys' producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys' version -- he's credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend's name to claim some extra money: [Excerpt: The Beach Boys, "Moon Dawg"] While there had been twangy guitar instrumentals before "Moon Dawg", and as I said, there's never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it's as good a choice as any. We won't be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on "Alley Oop". As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who've listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He's unlikely to turn up again in more than minor roles in future episodes, but I've made this week's Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He'll be missed.  

Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at “LSD-25” by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers’ lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on “Papa Oom Mow Mow” by the Rivingtons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence’s autobiography , a book about John Dolphin by his son, and He’s A Rebel, a biography of Phil Spector by Mark Ribkowsky.  But more than anything else, I used the self-published books by Stephen McParland,  who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. “LSD-25” is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, “Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux”. The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, “LSD-25”] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single “Moon Dawg”, backed by “LSD-25”, by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I’ve been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can’t all be true, so I’m going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I’m talking about could very easily not have been the people on the record. I have also made mistakes about this single before — there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is — or was, as many of them have died — a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved — those who haven’t said that everything was them and they did everything — were for the most part jobbing musicians who, when asked about the record, would not even be sure if they’d played on it, because they played on so many records, and weren’t asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn’t entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I’ve been able to track down, in 2001, so Venet’s lies went unchallenged, and many books still claim that Weaver never existed. So today, I’m going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we’re talking about. I’m going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, “Moon Dawg”] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years — Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father’s daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry — who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school — Berry’s neighbour Bruce Johnston on piano, Torrence’s neighbour Sandy Nelson on drums, and Nelson’s friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people’s mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson’s case he was sacked by Berry for playing his drums so loud — as he packed up his kit for the last time, he told Berry, “You’ll see, I’m going to have a hit record that’s *only* drums”. Slowly they were whittled down to three people — Berry, Torrence, and Ginsburg, with occasional help from Berry’s friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He’d discovered that if he did six months’ basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, “Jennie Lee”] He was surprised to hear it, and also surprised to hear it credited to “Jan and Arnie” rather than “the Barons”. He called Berry, who told him that no, it was a completely new recording — though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there’d been a problem with the tape, and he and Arnie had decided to rerecord it. He’d then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it — and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day’s husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn’t believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend’s party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin’s best friend Ryan O’Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn’t quite make them bigger than the Everly Brothers, but for a while they were almost as big — at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with “The Purple People Eater”, and number three was Jan and Arnie with “Jennie Lee”. And Dean Torrence was off in the Army, regretting his choices. We’ll be picking up on what happened with those three in a few months’ time… But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar…), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income — that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he’d get the band in, and he’d invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley’s would be outside breaking into the partygoers’ cars and stealing their stuff. But then Fowley got arrested — according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We’ve talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin’s of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we’ve covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out “Walkin’ Stick Boogie”, by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, “Walkin’ Stick Boogie”] He also owned a publishing company, which owned the publishing on “Buzz Buzz Buzz” by the Hollywood Flames: [Excerpt: The Hollywood Flames, “Buzz Buzz Buzz”] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin’s labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn’t be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they’d go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What’s definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin — one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn’t going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn’t have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA — in particular, they were the house band at Art Laboe’s regular shows at El Monte stadium — the shows which would later be immortalised by the Penguins in “Memories of El Monte”. [Excerpt: The Penguins, “Memories of El Monte”] But then the group’s piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy’s group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn’t stay long in the Flips, though — he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy’s sax player Jim Horn, that recorded “Rumble Rock”: [Excerpt: Kip Tyler, “Rumble Rock”] Nelson’s departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he’d got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib’s girlfriend’s younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called “To Know Him Is To Love Him”, inspired by the epitaph on Spector’s father’s grave: [Excerpt: The Teddy Bears, “To Know Him is to Love Him”] Sandy Nelson played the drums on that, and the track went to number one. I’ve also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn’t a bass player, so this seems unlikely. Even though Nelson’s playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent’s “Crazy Times” LP: [Excerpt: Gene Vincent, “She She Little Sheila”] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It’s not as fun as it sounds. A songwriter friend of Fowley’s named Nik Venet is credited with writing “Geronimo”, although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said “There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples… I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit.” Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, “Geronimo”] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, “Bumbershoot”] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig — the band’s concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters — but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we’ll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister’s boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, “The Other Side of Town”] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, “Bad Baby Doll”] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart’s own label (under the misspelled name Darry Weaver), and Capehart was Weaver’s manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point — Mike Deasy had gone on to join Eddie Cochran’s backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson’s “single that was only drums”. It wasn’t quite only drums — as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, “Teen Beat”] “Teen Beat” went to number four on the charts, and Nelson had a handful of other hits under his own name, including “Let There Be Drums”. Less successful was a ballad released under the name “Bruce and Jerry”, released on Arwin records after the owner’s son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. “Take This Pearl” was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, “Take This Pearl”] “Take This Pearl” by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry… Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all — and given that this is about the only record in the history of the world that Fowley ever said he *wasn’t* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don’t know if anyone’s ever asked James Burton about it, but it doesn’t sound like him playing. Given that the A-side is called “Moon Dawg”, that Weaver and Taylor were in a band called The Moondogs that used to play a song called “Moon Dog”, and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber’s list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson — probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, “LSD-25”] That song is called “LSD-25”, and while we have said over and over that there is no first anything in rock music, this is an exception — that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it’s very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) — they’ve said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with “a close musician friend” — who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, “Moon Dawg”] “Moon Dawg” was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we’ve mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, “Alley Oop”, under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, “Alley Oop”] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that “Moon Dawg” became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got “Moon Dawg” stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys — Larry Taylor’s brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys’ producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys’ version — he’s credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend’s name to claim some extra money: [Excerpt: The Beach Boys, “Moon Dawg”] While there had been twangy guitar instrumentals before “Moon Dawg”, and as I said, there’s never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it’s as good a choice as any. We won’t be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on “Alley Oop”. As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who’ve listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He’s unlikely to turn up again in more than minor roles in future episodes, but I’ve made this week’s Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He’ll be missed.  

If you know King Fowley, you will agree he is a perfect guest for INTO THE DARKNESS. From stories about MORBID ANGEL acting like rockstars, to King reflecting on the past discussing early demo tapes, becoming a drummer/vocalist, and which DECEASED album is his least favorite, this Episode is full of Fowley gold! Stories on Kerry King, Will Rahmer, Voivod, and Horror movies also cannot be overlooked, and with that enjoy the 12th installment of INTO THE DARKNESS. To view Video, FOLLOW Reaper Metal Productions - https://www.youtube.com/channel/UCznFdtwo8hRVca1JPzzAmBw FOLLOW Redefining Darkness Records - https://redefiningdarknessrecords.bandcamp.com/ Background image courtesy of Kaos Nest - https://www.deviantart.com/kaos-nest

This episode takes a look at ‘Spellbook of the Lost and Found’ a novel by Moïra Fowley-Doyle Music by Jahzzar - The Last Ones Photograph by Michael Penny. New episodes every Tuesday and Thursday. Videos on Saturday. Listen on the Castbox app or on Youtube. Amazon Wishlist - https://www.amazon.co.uk/hz/wishlist/ls/NO4CUXFXJMUW?ref_=wl_share Vote for your favourite book to be reviewed, and add new ones on the podcast’s goodreads List - https://www.goodreads.com/list/show/138527.Witchfix_Podcast_Review_List Patreon - patreon.com/Witchfixpodcast Buy Waywood by Sarah Goodwin on Amazon https://www.amazon.com/Waywood-Sarah-Goodwin-ebook/dp/B00X2HFG9S Buy Dead to Rites by Sarah Goodwin on Amazon https://www.amazon.co.uk/Dead-Rites-Harper-Gable-Book-ebook/dp/B07HF6KFXC/ref=sr_1_1?keywords=dead+to+rites&qid=1563460902&s=gateway&sr=8-1 Follow on Twitter @Witchfix Email witchfixpodcast@gmail.com

King Fowley is one of death metal’s forefathers and the founder of the legendary death metal band DECEASED and old-school metal troupe OCTOBER 31.  Fowley, who is known the metal world over, as one of the most ardent fans of true metal, has always been one of the most vocal, upfront figures and never pulls any punches when asked of his opinion. He has been tearing the music world asunder for almost three decades and has a life that he has lived to the fullest. Fowley’s life story is chronicled in Stay Ugly: The Life and Near Deaths of King Fowley, chronicling Fowley’s early days, how DECEASED formed, the D.C.- area metal scene of the mid-’80s, and how King escaped death multiple times. King nearly died from a horrendous blood clot, survived a stroke and kicked drugs and alcohol, two addictions that had a complete stranglehold on him.

King Fowley is one of death metal’s forefathers and the founder of the legendary death metal band DECEASED and old-school metal troupe OCTOBER 31. Fowley, who is known the metal world over, as one of the most ardent fans of true metal, has always been one of the most vocal, upfront figures and never pulls any punches when asked of his opinion. He has been tearing the music world asunder for almost three decades and has a life that he has lived to the fullest. Fowley’s life story is chronicled in Stay Ugly: The Life and Near Deaths of King Fowley, chronicling Fowley’s early days, how DECEASED formed, the D.C.- area metal scene of the mid-’80s, and how King escaped death multiple times. King nearly died from a horrendous blood clot, survived a stroke and kicked drugs and alcohol, two addictions that had a complete stranglehold on him.

It's been a busy weekend for the Ladies this weekend with action at all levels of the McCormacks Mace Ladies Football Championships across the county. Sponsored by: Urban Fit Crew Boxfit, Kiltoghert. Breifne speaks to player and coaches from most of the games at Senior, Intermediate and Junior level. Sarah McLoughlin (Oughteragh Gaels), Derek Fowley (Dromahair), Vanessa Gallogly (St. Josephs) Gary Canning (Mohill) & Patricia Forde (Keeldra Gaels) all speak about their own experiences of championship fare this weekend. Ballinamore's Eddie Coyle shares his winning weekend with the U18 Connacht side who started their defence of their Inter Provincial title with a 34-16 victory against Ulster. Breifne is also joined by Declan Bohan to discuss all the games in the Vistamed Junior A & B Championships on Saturday evening.

Love her or hate her (okay, hate her) we're talking about her. Diana Fowley, people. The Fowl One has arrived.

Love her or hate her (okay, hate her) we’re talking about her. Diana Fowley, people. The Fowl One has arrived.

Jim examines a cult classic celebrating its 65th Anniversary, "Cat-Women Of The Moon," starring Sonny Tufts, Marie Windsor, Victor Jory, William Phipps, Douglas Fowley and Susan Morrow. Man's first expedition to the Moon discovers life in the form of women who closely resemble "The Hollywood Cover Girls," along with a sinister plot. Will MANkind prevail? Find out on this episode of "Monster Attack!"

PODCAST: 26 May 2018 01 Who Broke The Lock - The Unwanted - Pay Day 02 The King Of Dunmail Raise - Mike Turnbull - Circlet Of Gold [Ep] 03 The Cobbler's Daughter - Alden, Patterson, Dashwood - By The Night 04 Fowley’s Mazurka / Billy’s Boffin Waltz  - Shane Mulchrone - Solid Ground 05 Good Morning Mr Walker - Eliza Carthy - An Introduction To Eliza Carthy 06 Sweet Liberty Of Life - Finbar Furey - Don't Stop This Now 07 Walk The Road - Ho Ro - Hex 08 Fledgeling Featuring Jarlath Henderson - Kirsty Law - Young Night Thought 09 The Orphan King - Ed Romanoff - The Orphan King 10 The Ballad Of Springhill -  Landless - Bleaching Bones 11 Unity (Raise Your Banners High) - John Tams - An Introduction To John Tams 12 What Will We Do When We Have No Money? - The Unwanted - Pay Day 13 Selkie Song - Hannah Sanders & Ben Savage - Awake 14 Song Of The Lower Classes - Cath & Phil Tyler - The Ox And The Ax 15 Bright Field - The Rheingans Sisters - Bright Field  16 Red Rocking Chair - Alden, Patterson, Dashwood - By The Night 17 Let's Go To Town - Richard Knott - Long Story Short 18 The Cuckoo - Mishaped Pearls - Shivelight 19 Mari Fach - Lucy Ward - Pretty Warnings 20 Swan Song - Phamie Gow - Beyond The Milky Way 21 He’s In The Jailhouse Now - Memphis Shieks - Good For What Ails You 22 Ripest Of Apples - Anna & Elizabeth - The Invisible Comes To Us 23 The Maharajah Of Mogador - Robin Williamson & His Merry Band - Journey's Edge 24 The Galway Shawl - Finbar Furey - Don't Stop This Now 25 Texas Easy Street - Dom Flemons - Black Cowboys 26 Willow Tree - Eliza Carthy - An Introduction To Eliza Carthy

Mothers Day 2018 - Leslie Fowley by Bethlehem Assembly of God

David and Keva dig into the three-part mythology story that asks “what exactly is an X-Files three-part mythology story now that the syndicate is all but wiped out…?” Biogenesis The Sixth Extinction The Sixth Extinction II: Amor Fati Mulder gains the ability to read minds but it causes him to go insane and fantasize about a perfect suburban life with Fowley, Scully goes to Africa where she witnesses a miracle, and Krycek and Kritschgau go head-to-head to finally settle once and for all who has the best name that starts with the letter k. All this and more – including why Teena Mulder is one of the weakest characters Chris Carter has ever written.

In this episode, I try to say ''um" less. I start out with some Beatles news. First was the tenth anniversary of the "Let It Be...Naked" album, which was Paul McCartney's attempt to strip Phil Spector off the record. Phil Spector is in jail for murder. The Beatles weren't getting along, even though George looks ecstatic on the cover of "Let It Be". I grew up hearing the strings on "The Long and Winding Road", but Paul hated it. I don't know why, but it was probably because Macca is a control freak. The second anniversary was that of the last George Harrison album, "Brainwashed", which was released after his death. It's a great album. Jeff Lynne of ELO and the Traveling Wilburys and George's son, Dhani, finished the album. I talk about the movie "Easy Rider", the classic motorcycles and hippies saga. I saw this movie as a freshman in college. I wrote a paper about the music in the movie, but I bet it was tripe, since I didn't have the internet and was pretty naive musically. The movie starts out with a drug deal. This reminds me of the cartels outside my cinder block shack. The cartel member is dressed nice. They sell the coke to Phil Spector at the airport before he takes off to London to screw up "Let It Be". I talk about how small gas tanks are on chopper motorcycles, so they had to stop a lot on their way to New Orleans. There is some heavy-handed symbolism when they change a motorcycle tire in front of a blacksmith shoeing a horse. They meet a hitchhiker who takes them to a scary commune with screaming kids and goats. Worst of all are the mimes, who speak when they aren't supposed to. They try to grow corn. Free love ain't all that great. Lucy agrees. I talk about how destructive hippies are, giving examples of Woodstock and Altamont, as well as the parking lot after the Grateful Dead hit Seattle. I finally remember the name of Dennis Hopper's character. There's some foreshadowing when they get to New Orleans. They go to a whorehouse and see Toni Basil of "Mickey" fame. The movie ends tragically. The movie holds up well, but the camera work has aged. The music is good - Steppenwolf, Byrds, etc. "Don't Bogart That Joint", my friend. I talk about the book "Cannery Row" by John Steinbeck, which takes place in Monterrey, California. It's a great setting for a novel. I love Steinbeck. Doc is a marine biologist who makes money selling octopi and stuff like that he collects in the tidal flats. Vagabonds live in the Palace Flophouse, led by Mack. The book has a sense of whimsy. Steinbeck has a gift for illustrating the common man without pretension. There is a sequel called "Sweet Thursday", and it's a great book, too. It was written years later when Steinbeck was more experienced. The movie of "Cannery Row" is a hybrid of those two books. The guy who plays Mack was the shooter in "The Jerk". He hates these cans! The movie is narrated by John Huston and stars Nick Nolte and Debra Winger. I do a poor imitation of Navin Johnson. I can't say the actor's name very well. I observe the passing of the great Lou Reed. I love the "Berlin" album. Most people just know him from the song about the transvestites. I do some housekeeping regarding the first episode. The intro song is my song, "Chemical Marriage" off the Saturn Lander eponymous album. "I Love Rock and Roll" was by the Arrows. Kim Fowley was a svengali, not a savant. Kim Fowly produced three songs by Flash Cadillac and the Continental Kids on the American Graffiti soundtrack, which I love. Fowley wrote for Helen Reddy and others. The Gettysburg Address has less than half the words of the Barenaked Ladies song I talked about. The sitcom I talked about with Bronson Pinchot was "Perfect Strangers". They found the bones of Coneheads in France, just like they said on SNL years ago. I quote Jack London. My website is www.PaperbackRocker.com. You can find the podcast archives there. Find my books on Amazon by searching my name, Matt Syverson. Follow me on Twitter @PaperbackRocker. Email me at bowiefan1970@live.com. Thanks for listening!

Robert Louis Stevenson once wrote, "saints are sinners who kept on going." So would that make King Fowley the patron saint of Metal? To say that he's kept on going is an understatement, with band lineup changes, label issues, and health scares that could frighten anyone into their grave (Fowley is clearly immune to burial). You could also apply the RLS quote as a metaphor for Deceased's music: the gutwrenched dread of their early releases which has evolved over time into the melodic, hook-laden anthems of their recent discography. King called in to BNM to talk touring, the current state of Deceased and the upcoming album, as well as very important matters such as old KISS albums, scary movies, New Wave music, '80s television, the ghost of Rex Smith, dying telephones, and the eternal question humans have been asking themselves for aeons: Janet, Chrissy, Cindy or Terri? "Come and knock on our dooooor..." www.upthetombstones.net Email/Requests: blacknightmeditations@msn.com Playlists: http://wsca.radioactivity.fm/show.html?showoid=1242 BLACK NIGHT MEDITATIONS - A heathenish foray along the shining path. Aural ruminations of Black, Death, Speed, Thrash, Doom, Folk, Shred, Power, Prog & Traditional Metal. Tuesday Nights 10pm-2am e.s.t. - WSCA 106.1 FM - Portsmouth, NH USA - Listen online live @ http://asx.abacast.com/wsca-wsca-128.m3u