Podcasts about Gram Parsons

Gun fights, heroin trafficking, burglaries, kidnapping threats, intra-band infidelity and the greatest rock ‘n' roll record ever made, Exile on Main St. The Rolling Stones created this album as fugitives––tax fugitives––exiled from their homeland to the French Riviera and desperate to keep their career afloat after a near decade of scandal and near financial ruin amidst a cast of colorful characters including Gram Parsons, Anita Pallenberg, starlets, aristocrats, drug dealers, junkies and thieves. All of the chaos contributed to one of Keith Richards' and Mick Jagger's finest creative achievements, a wholly new and unique interpretation of America. To see the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠. This episode was originally published on July 23, 2019. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠⁠⁠⁠⁠⁠⁠disgracelandpod.com/membership⁠⁠⁠⁠⁠⁠⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠⁠⁠⁠⁠⁠⁠GET THE NEWSLETTER⁠⁠⁠⁠⁠⁠⁠ Follow Jake and DISGRACELAND: ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠ (formerly Twitter)  ⁠⁠⁠⁠⁠⁠⁠Facebook Fan Group⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In This Episode Patreon Transition Update: The show is officially off RedCircle—Brian clears up confusion and shares how to access all premium content via Patreon. Ghosts of Hotel Rooms Past: Brian books a stay at the infamous Room 8 at the Joshua Tree Inn—the same room where Gram Parsons died—and lives to tell the tale. Weekly RIP Roundup: Loretta Swit (Hot Lips from MASH*) Jonathan Joss (King of the Hill) Ed Gale (the original Chucky actor) Peter Kwong (Big Trouble in Little China) Alf Clausen (longtime Simpsons composer) Mike “The Body Snatcher” McCallum (Jamaican boxer) Bernie Kerik (disgraced NYPD chief and Rudy's 9/11 crony) Celebrity & Sports News: Pee-wee Herman documentary rave review Tim Robinson's “Friendship” movie analysis John Mellencamp vs. Pat McAfee: a Midwest culture clash Knicks fans, Pacers beef, and NBA playoffs drama Mary Lou Retton's surprising DUI arrest Cardi B & Stefon Diggs go Instagram official—via backshots & twerking WTF of the Week: A woman sues her ex-boyfriend for farting in her face and giving her seven years of sinus infections Kid Cudi testifies about Diddy breaking into his home and unwrapping his Christmas presents out of revenge Turkey fines passengers for standing before the plane lands—because of hair plug tourists Sydney Sweeney is selling soap infused with her bathwater and somehow… we're okay with it.

Six String Hayride Classic Country Podcast, Episode 58 Louisiana Guitar Man, James Burton.James Burton is the guitar behind the classic Ricky Nelson hits, The Elvis Presley TCB Band, The Emmylou Harris "Hot Band" , John Denver's 1980's music, and much more. The man Keith Richards calls, "Master of the Telecaster" , Burton and his pink paisley telecaster are all over country, western, rockabilly, and rock and roll records you have been listening to for years. Working with Ricky Nelson, Emmylou Harris, Elvis Presley, Elvis Costello, Buffalo Springfield, Merle Haggard, Gram Parsons, Michael Nesmith, and Keith Richards, Burton has the talent and the telecaster to bring the perfect guitar parts to anything he plays. Chris and Jim discuss Burton's guitar playing and share a fine recipe for Louisiana Beignets. Join us for Six String Hayride Podcast Episode 58.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

Send us a textOn this episode, we discuss Grievous Angel, the last album recorded by one of the most interesting, tragic, and influential people in modern music: Gram Parsons.   In just six short years, from 1967 until his death in the fall of 1973, Gram Parson help pioneer what would become known as country rock, or what he preferred to call  "Cosmic American Music." In those six years, he made several landmark albums with the International Submarine Band, the Byrds, and the Flying Burrito Brothers, as well recording two solo albums. None were commercially successful at the time of their release, but they cast a long shadow on the music of the later half of the 20th Century, and continue to do so today. Its difficult for modern listeners to understand how unique and innovative Parsons vision of blending elements of country, rock, folk, and (most importantly) soul was at the time because it has influenced so much that came after that its uniqueness gets lost crowd.For Grievous Angel, Parsons was able to get some of the best musicians in the business backing him. He also could recognize talent when he saw it and knew having Emmy Lou Harris as his duet partner would create magic, which it most certainly did. Released just months after Parsons untimely death, and containing some of his most beautiful, songs Grievous Angel is a remarkable and poignant album that chronicles Parsons influences and his devotion to traditional country music, while showcasing his ability to blend those influences with other genres into something entirely original.  Visit us at www.tappingvinyl.com.

In this special Rock is Lit episode—available exclusively on ⁠YouTube⁠—legendary rock and film photographer Kim Gottlieb-Walker joins Christy to talk about her novel, ‘Lenswoman in Love', a love story steeped in the sights and sounds of the 1960s and 1970s music and film scenes. Kim shares behind-the-scenes stories of working with a young Cameron Crowe and shooting icons like Jimi Hendrix, Bob Marley, Gram Parsons, and Jim Morrison. She also discusses what it was like to be a film set still photographer on classics like John Carpenter's ‘Halloween' and TV shows like 'Cheers' and 'Family Ties'. As a bonus, Kim walks us through a visual slideshow of her iconic photography that inspired moments in her novel. This is a rare, can't-miss episode best experienced with your eyes and ears. WATCH HERE: https://www.youtube.com/watch?v=LMiLtXU71l8   For Kim's full bio, see her website. LINKS: Leave a rating and comment for Rock is Lit on Goodpods: ⁠⁠https://goodpods.com/podcasts/rock-is-lit-212451⁠⁠ Leave a rating and comment for Rock is Lit on Apple Podcasts: ⁠⁠https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350⁠⁠ Kim Gottlieb-Walker's website: ⁠⁠http://lenswoman.com/⁠⁠ Kim on Facebook: ⁠⁠https://www.facebook.com/KimGottliebWalker⁠⁠ Lens Woman in Love Facebook page: ⁠⁠https://www.facebook.com/groups/938323581755313⁠⁠ Kim on Instagram: ⁠⁠https://www.instagram.com/kimgottliebwalker/⁠⁠ Kim on Bluesky: ⁠⁠https://bsky.app/profile/kimgottliebwalker.bsky.social⁠⁠ Rock is Lit on Instagram & Bluesky: @rockislitpodcast Christy Alexander Hallberg on Instagram and YouTube: @christyhallberg Christy Alexander Hallberg on Facebook: @ChristyAlexanderHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

Back on the airwaves of Vinyl Community Podcasts, Alex (Beer & Vinyl) shares a recent interview with musician/songwriter M Ross Perkins. M Ross Perkins is currently a featured artist on the Colemine Records label, and has a new album that dropped on May 2nd (interview recorded prior) entitled "What's The Matter, M Ross?" Composed, performed, and recorded completely by Perkins in his Dayton, OH studio, What's the Matter… is both the most stripped down and expansive within his tryptic of albums ("Wrong, Wrong, Wrong", "E Pluribus M Ross", and Now "What's The Matter..."). The headphone symphonies move with a deliberate, composed sophistication while the lyrics explore fresh territory, turning the camera away from the “butterscotch revue” and pointing it into a mirror. "The touchstones of psych pop remain: flourishes of Nilsson are still here, but so are Gram Parsons and Jonathan Richman. If you want to assign geography to What's the Matter, M Ross?, the album is equal parts Laurel Canyon and Big Pink, more Woodstock the town than the festival. Perkins is a self-contained (late-period) Teenage Fanclub with George Harrison's spiritual sense of inner wanderlust. Want a free copy? Available to anyone in lower 48 states head over to the Beer & Vinyl YouTube channel (specific video link below) and comment with some kind of musical connection to the state of Ohio. Deadline to enter is May 16th, 2025. And don't forget to check out thew new album "What's the Matter, M Ross" at your local independent record store or direct from Colemine Records (link also below). Bottoms up!

The Cars' self-titled 1978 debut record changed the world of power pop forever. Guitarist and co-vocalist Ric Ocasek penned all the tunes, but lead guitarist Elliott Easton transformed them with his tasteful 6-string stylings. This time on Shred With Shifty, Easton sits down with Chris Shiflett to show him how to play the solo from “My Best Friend's Girl.” Born in Brooklyn before winding up in Long Island, Easton washed dishes to save up for his first 1971 Fender Telecaster, and after high school he studied at Berklee College of Music in Boston, where he picked up key theory and technique that he still holds dear. Reared on country and rockabilly players like Roy Buchanan, Jesse Ed Davis, Gram Parsons, James Burton, and Roy Nichols, Easton brought a slick twang to Ocasek's new-wave gems. Easton tells Shifty how the band came to work with producer Roy Thomas Baker in London, while crashing at a label-provided mansion nearby and driving a loaned Jaguar and Land Rover to the sessions. Easton's celebrated leads didn't take long to come together. “On my mother's memory, I did all my guitar parts in a day and a half,” he says. All he had with him was a 1978 or '77 Telecaster with a Bartolini Firebird-style mini humbucker in it, a red Les Paul, a Martin acoustic, and two effects: the brand-new Boss CE-1 and a Morley EVO-1 Echo Volume pedal. His amp of choice in those days? An Ampeg VT-22 or VT-40. After running down his giddy-up guitar parts from “Best Friend's Girl,” Easton talks about which modern players impress him, why he doesn't consider himself a shredder, and the experience of working with Mutt Lange: “I spent as much time tuning with him as playing!” If you're able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:  https://guitarcenterfoundation.org https://www.cciarts.org/relief.html https://www.musiciansfoundation.org https://fireaidla.org https://www.musicares.org https://www.sweetrelief.org Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editor: Addison Sauvan Graphic Design: Megan Pralle Special thanks to Jon Romeo, Michelle Yoon, Chris Peterson, Greg Nacron, and the entire Volume.com crew.

171 - Jock Bartley (Firefall) In episode 171 of Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with the original guitarist and leader of the band Firefall, Jock Bartley. In their conversation Jock discusses briefly what living in Colorado is like both now and early on… and why he never made the move to LA. Jock tells us about the two most recent Firefall releases both concept albums focusing on the songs of Firefall's contemporary bands that the original members were at times members of. Jock talks about his early musical experiences studying with guitarist Johnny Smith in Colorado Springs on a Gibson ES-140 he bought from Johnny's shop. Jock describes being hired by Gram Parsons and Emmylou Harris and touring with them. Jock tells us about his guitars: his 1958 Gibson sunburst Les Paul and his 1959 Fender Telecaster as well as a custom Paul Reed Smith that he plays through a Fender Super. Jock then explains the formation of Firefall which was a type of super group for the era and then after the heyday for the band how he kept the band alive to this point. Finally Jock tells us why he's considering selling his ‘58 Les Paul. To find out more about what Jock and Firefall are up too you can go to their website: FirefallOfficial.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #JockBartley #Firefall #GibsonGuitar #GramParsons #EmmylouHarris #VintageGuitar #Zephyr #Burst #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

Where has the time gone?!!    We began coming straight out of the Covid closures in the back of Alan Garcia's garage podcast studio in Essexville in February of 2021. Now we fire up in our new comfy confines of the Bay City Historical Museum Second Floor where the Michigan Rock and Roll Legends displays can be witnessed. When we first moved to the Museum, you could hear us trying areas, tables, spaces. Now we have our own 'couch relaxed' room, boom mic'd and offering even more quality as our MMHP989 brand continues to expand by word of mouth from music lover to music lover, musician to musician, fan to DJ, author to Podcaster. We are 118 episodes deep according to Apple Podcasting--sounds about right!    Because of YOU listeners and our first class guests, we are getting requests from more music legends now to help tell their story and be featured on our show. As we roll into year four, we plan to expand the horizons and look at our show from other angles. The best is yet to come!    In our four year catch up, Dr. J dishes out the details behind our new first class operation, discusses state of the state of the amazing Michigan Rock Hall (have you visited it yet?), we talk about our joy of the show and how its reached beyond the state of Michigan, and we get a deep dive into an artist whom has passed away from Saginaw, songwriter Bob Buchanan who wrote the great Hickory Wind with the late Gram Parsons while on a train, members of the International Submarine Band. Told only as Sir Fred can, bruises and all! We are lucky to have this outlet for this story--so stick around for it. Sit back and celebrate our Fourth Anniversary with the MMHP989!

It was without question a natural progression. All of the attributes that country inherited from gospel, blues, and jazz resulted in what amounted to competition in the charts (and in some mid-century cultural clashes). Although The Beatles had suggested a kinship with mid-sixties tributes to Buck Owens and Chet Atkins, the only comfortable way to make the marriage work was to have it come from other directions…specifically from cultural prods of Nudie suits, coupled with folk and country nudges, and the inevitable respect for the music. Gram Parsons' influence on the late sixties rise of something they called ‘country rock' is easy to find but Dylan's John Wesley Harding album from 1968, The Byrds' Sweetheart of the Rodeo, and Leon Russell's alter-ego Hank Wilson opened the doors to a sound that swept the charts. We'll hear some originals, covers, and a whole lot more in this week's Deeper Roots. Hope y'all can join us.

La nova can

The team dives deep into the eerie mysteries surrounding Death Valley. From the restless spirit of rock star Gram Parsons haunting Joshua Tree to the strange disappearance of a German family in the unforgiving desert, each story reveals layers of intrigue and speculation. Adding to the mystery is the elusive Yucca Man, a Bigfoot-like creature reportedly seen by military personnel near secretive bases. Together, Brandon, BT, and Lindsy connect these strange tales, exploring the idea that the Mojave Desert is a hotbed for paranormal activity, hidden energies, and possibly even dimensional portals. Whether you're a skeptic or a believer, this episode will make you question what really lies within the vast, desolate landscape of Death Valley.https://join.unrefinedpodcast.comFor recovery assistance :Gram Parson's daughter's Ranch=> https://hickorywindranch.com/Timestamps:00:11 - Introduction to Death Valley mysteries00:28 - Hosts discuss the eerie allure of the Mojave Desert00:58 - Introducing the Death Valley Germans, Gram Parsons, and Yucca Man03:25 - Story of Gram Parsons and his connection to Joshua Tree05:52 - Strange events surrounding Parsons' death and desert cremation08:12 - Hauntings at Joshua Tree Inn's Room 810:33 - Discussion of hauntings and paranormal sightings in Joshua Tree12:53 - Theories on paranormal recordings and “stacked time”15:19 - Introducing the mystery of the Death Valley Germans17:42 - Background of the missing German family20:09 - Theories on why the family vanished in the desert22:22 - Exploring connections to nearby military bases24:47 - Speculations about cults, cartels, and missing remains26:49 - Creepy theories surrounding missing persons in Death Valley29:08 - Introduction to Yucca Man and strange desert creatures31:25 - Eyewitness accounts of giant, hairy creatures with glowing eyes33:52 - Indigenous legends of mysterious beings in the Mojave36:10 - Connections between Bigfoot sightings and Edwards Air Force Base38:25 - “Old Blue Eyes” and military personnel encounters with Yucca Man40:51 - Theories about Bigfoot and portals in the Mojave Desert43:15 - Speculations on Bigfoot as supernatural or ancient beings45:39 - Biblical worldview on paranormal desert entities48:06 - Exploring Death Valley as a paranormal “hotspot”50:32 - Outro and ways for listeners to connect with the Unrefined Podcast

Legendary drummer Willie Cantu is on the show today, the sole surviving member of the ultimate lineup of one of the greatest ensembles of all time - Buck Owens' Buckaroos. I've talked about the Buckaroos on this show a number of times - they keep coming up in discussions with various folks, and I'll say it again that I think that mid to late 60's lineup is as electrifying a band as any band of that era, no matter what genre. That lineup of Buck, Willie on drums, Don Rich on guitar, fiddle and vocals, Tom Brumley on steel and Doyle Holly on bass were like a finely tuned Ferrari in their heyday. They looked slick and they played and sang like no one else, anywhere. Songs like “Together Again”, “I Don't Care”, “Open Up Your Heart”, “Sam's Place” and so many classic albums defined the sound of Bakersfield country which was in stark contrast to the smooth sounds coming out of Nashville in those days. Their influence can be heard directly on everyone from the Beatles to CCR, Gram Parsons to Dwight Yoakam. Willie is an accomplished jazz drummer, and while he was in one of the great country bands of all time, it's very evident that jazz is his real love. He's from Corpus Christi, Texas, and joined the Buckaroos when he was 17 in 1964. We had an epic visit and I did have to edit it way down, even though this sucker still clocks in at about 2 hours. Maybe we'll do a part 2 somewhere down the line! For some essential listening, be sure to check out the 2 Buck Owens live albums that feature Willie - The Carnegie Hall Concert and Live in Japan! They are both amazing documents of a band in their prime. After the Buckaroos, Willie has been involved in some very interesting jazz and improvisational music, which you can check out here. Willie doesn't have a website and is being more selective about his gigs these days, but if you're in Nashville, keep your ear to the ground and maybe you'll catch him playing at a jazz club or Robert's Western World. you never know! So now, please enjoy my conversation with Willie Cantu!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodesThe show's website can be found at www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.

Gram Parsons had a dream of creating and popularizing cosmic american music: a mix of country, rock, and Americana. After a stint in The Byrds he began his solo career strong and had a follow up album (Grievous Angel) in the can, but died tragically before it could see release. The boys discuss tasty pedal steel licks, under-rehearsed yet somehow perfect harmonies, and funeral pacts with outlaw biker pals.Join our Mailing List here: https://linktr.ee/1001albumcomplaintsEmail us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comSpecial Thanks to our guest complainer Scott - drummer for Arby's-rock outfit Ghostbeef - check them out here: https://thechopunlimited.bandcamp.com/album/ghostbeefListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/5auOs5sLKsUO9KyN55SCCs?si=4ffd3720034041daListen to Grievous Angel here:https://open.spotify.com/album/6UQujMGmR5MbFsML9amCuN?si=F4Dw42qVTiOr9dhwclo9BgIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsSupport us on Patreon, now including our new show Song Battle!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: Jurassic 5 - Power in Numbers

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Who's Got the Crack by The Moldy Peaches (2001)Song 1: Savoy Truffle by The Beatles (1968)Song 2: All My Tears by Emmylou Harris (1995)Song 3: The Breaks by Kurtis Blow (1980)Song 4: Where Did Our Love Go by The Supremes (1964)Song 5: John Hughes by Anamanaguchi (2013)Song 6: Whatever You Like by T.I. (2008)Song 7: Dream All Day by The Posies (1993)Song 8: Our Most Desperate Hour by Nita Strauss (2018)Song 9: Hard Times Blues by The Razor Ramones (2019)Song 10: In My Hour of Darkness by Gram Parsons (1974)

Chip and Jeff are stoked to chat about the supernatural horror classic “Poltergeist” (1982). They also discuss whisky drinks, Secret Brits, nerd minutiae, JoBeth Williams, Craig T. Nelson, Top 100 Movie Quotes Quiz, scary trailers, "How would Chip Do When Facing Certain Monsters," Chuck Cunningham, Mike Myers, The Tubs, Detroiters, epic Gram Parsons story, and much more goodness!

Six String Hayride Podcast Episode 48. Women of the West, Patsy, Rose, and Wanda. Patsy Montana (October 30, 1908 – May 3, 1996), Rose Maddox,(August 15, 1925 – April 15, 1998), Wanda Jackson (born October 20, 1937) three pioneering singers, songwriters, fiddle, and guitar players who broke down barriers for women musicians while creating some truly great music. Patsy is the first female country artist to sell one million copies of a record, I Want to be a Cowboy's Sweetheart (1935). Rose pioneers a human firecracker style for a singer fronting a band before Mick Jagger or Tina Turner and creates the Western Style of stage outfits that would inspire Buck Owens and Gram Parsons. Wanda Jackson writes some hit songs and becomes the first female star of Rockabilly and Rock and Roll while making fine country records and graduating High School all at the same time. Impressive women musicians and entertainers who would influence the likes of Emmylou Harris, Rosanne Cash, and Joan Jett. Jim and Chris offer up a hot Buffalo Chicken Pasta Recipe and the usual Hayride Shenanigans. Join us for Episode 48, wherever you get podcasts, we are there.

Standing at the crossroad, Roz flags a ride with none other than satanic doo-wop duo Alexandra and Zachary James, aka TWIN TEMPLE! Leaving nothing but a trail of flames, they tear off into the night to discuss a photoshoot with the ghost of Gram Parsons, Alexandra's terrifying night at the notorious Gunter Hotel, and the inclusive philosophy of satanism. Want to share YOUR paranormal experience on the podcast? Email your *short* stories to GhostedByRoz@gmail.com and maybe Roz will read it out loud on the show... or even call you! Be sure to follow the show @GhostedByRoz on Instagram. Support this podcast by shopping our latest sponsor deals and promotions at this link: https://bit.ly/3WwYCsr Learn more about your ad choices. Visit megaphone.fm/adchoices

***This show is brought to you by DistroKid. Go to http://distrokid.com/vip/the500 for 30% off your first year!*** -The Flying Burrito Brothers helped forge the connection between rock and country with their 1969 debut album, The Gilded Palace of Sin. What they lacked in longevity, they made up for with a big influence in rock and country music. Long-time blues guitarist Kenny Wayne Shepherd and friend of The 500 Wayne Federman discuss Gram Parsons and more with Josh.  Follow Kenny on Instagram: https://www.instagram.com/kennywayneshepherd/ Follow Kenny on YouTube: https://www.youtube.com/@KennyWShepherd Kenny Wayne Shepherd Tour Dates & “Dirt On My Diamons 2”  https://www.kennywayneshepherd.net/ Follow Wayne on Instagram: https://www.instagram.com/djmortycoyle Follow Wayne on Twitter: https://www.instagram.com/instafederman Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show's website: http://the500podcast.com DistroKid Artist Of The Week: Yarn https://www.youtube.com/watch?v=ARlEVJ_l2KE Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's Music History In Depth Podcast, a rock star's body gets stolen, a Prince recording gets the attention of Congress, an offhand comment by Bob Dylan turns into a concert charity event, & we say happy birthday to 3 legends who were all born on the same date of September 23. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

If you're looking for great Heartland Rock, a great choice would be the album Against the Wind.  Depending on how you count it, it could be considered Bob Seger's eleventh studio album, but it is the third album of the iteration known as Bob Seger & the Silver Bullet Band.  Seger is joined by Drew Abbott on guitar, Chris Campbell on bass, and David Teegarden on drums.  The band became the Silver Bullet Band a bit by accident.  They were arguing about what to call themselves, and the manager got tired of it.  When they got paid the manager wrote the name "Bob Seger and the Silver Bullet Band" on the paycheck and the name stuck.  Against the Wind was an immediate success.  It went to number 2 on the Billboard 200 charts in its third week, and it sat there for 5 weeks, kepts out of the top slot by Pink Floyd's monster hit album, "The Wall."  Finally, it topped "The Wall" to take the number 1 slot and remained there for six weeks, making it Bob Seger's most successful album in his career.There are a number of well known hits on this album, and an excellent collection of musicians as well.  In addition to the Silver Bullet Band, Seger makes use of session musicians out of Muscle Shoals Sound Studios, and is joined by backing vocals from members of the Eagles as well.Seger retired at the end of 2019, but he performed in 2023 at Patty Loveless's induction in to the Country Music Hall of Fame in Nashville, so we hold out hope that there will be some occasional performances still to come.Bruce presents this folksy heartland singer songwriter for this week's podcast.. Her StrutWhile not released as a single, this song received some airplau as the B-side to "The Horizontal Bop."  Seger has been criticized for his adolescent humor in this song, but he claims that the inspiration for it was feminist activist Jane Fonda and her appearance before the Campaign for Economic Democracies.Against the WindBob Seger has written a number of songs about looking back on life, and the title track is an example of this.  Seger was a cross country runner in high school, and he uses running as a metaphor for growing old.  This song went to number 5 on the Billboard Hot 100, and he is joined by his friend and Eagles alumnus Glenn Frey for backing vocals.Fire LakeThis track is about taking risks, risking love, and just heading off with a bunch of wild people.  Seger recorded this one at Muscle Shoals Sound Studios.  If the backing vocals sounds a lot like the Eagles, there is a reason for it - those backing vocalists are Glenn Frey, Don Henley, and Timothy B. Schmit.  You'll Accomp'ny MeThis ballad is a little more country, with lyrics that basically say, "look, you may be playing the field now, but we both know in the end we'll be together."  Little Feat co-founder Bill Payne joins Seger on this track to provide organ, synth, and piano parts.  It hit number 14 on the Billboard Hot 100. ENTERTAINMENT TRACK:Sleepless Nights by Gram Parsons (from the motion picture "Cruising")Al Pacino starred in this crime thriller about a serial killer targeting gay men.   STAFF PICKS:I Like to Rock by April WineWayne rocks out to start the staff picks with this Canadian band.  April Wine formed in 1969, and have released over 20 albums.  This song may be time stamped in the early 80's but it rocks out, and you can't beat lyrics like, "journey to the stars, Rock N Roll guitars!" Take the Long Way Home by SupertrampRob brings us one of the hits off Supertramp's multi-platinum album, "Breakfast in America."  The lyrics to this one depict a couple growing apart as the husband starts staying away from home due to feeling like he's being ignored.  It can also be a reflection of missed opportunities to live in alignment with your heart, and not being at peace with yourself.Rock With You by Michael JacksonLynch features a hit from MJ's disco album, "Off the Wall."  Original lyrics were a bit more suggestive, but these were toned down to fit Jackson's wholesome image at the time.  Rod Temperton wrote "Rock with You" as his first song for Jackson, setting the stage for more collaborations, including the iconic "Thriller." I Wanna Be Your Lover by PrinceBruce's staff pick is the lead single from Prince's self-titled second album, and his first major hit, reaching number 11 on the Billboard Hot 100 in January 1980.  Prince performs lead and backing vocals, and plays all instruments on this hit.  The end of the track includes an extended instrumental jam which is edited out for the single. INSTRUMENTAL TRACK:Give It All You Got by Chuck Mangioni Flugelhorn player Mangioni wrote this song for the 1980 Winter Olympics in Lake Placid, New York.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Hello and welcome to How Did I Get Here? From The Vault! Today we go back to September 12, 2023 for episode 1312 with Jock Bartley from legendary 70's soft rock band, Firefall. Below are my original notes from the show. Enjoy!   Hello friends! Jock Bartley, founding member of legendary 70's band, Firefall is my guest for episode 1312! Firefall's latest album, Friends & Family, a uniquely personal tribute album where they imbue their distinctive sound into songs by Fleetwood Mac, The Byrds, The Band, The Doobie Brothers, Lynyrd Skynyrd, Heart and other classic rock legends. Friends & Family comes out on September 22nd on Sunset Blvd. Records. Go to firefallofficial.com for tour dates, music, merch and more! Jock and I have a great conversation about the decision to pay tribute to their Friends & Family and some of the stories behind the songs, playing guitar for Gram Parsons on tour, forming Firefall in 1974 in Boulder with Mark Andes, bassist from Spirit and Jo Jo Gunn, Larry Burnett and drummer Michael Clarke from The Byrds and Flying Burrito Bros, keeping a band going for five decades and much more. I had a great time getting to know Jock. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie    

Welcome to The Singers Talk Podcast based on my book of the same name. This week you'll hear my conversation with Emmylou Harris. A Country Music Hall of Fame Inductee. Winner of 14 Grammy Awards, plus a Lifetime Achievement Award. An absolute legend. And one of my favorite voices of all-time.   In this episode you're also gonna hear us talk about the shimmer that a song should have. What she learned early on from collaborating with Gram Parsons. How she overcame some vocal issues. The importance of a great producer. What it takes to make a confident leap of faith. And the key to great harmony singing from one of the best to ever do it. It's no coincidence that she has sung with so many legends from Mavis Staples to Bob Dylan, Willie Nelson. Roy Orbison, Patty Griffin, Lucinda Williams, John Prine and Neil Young to name a few. She was in a supergroup called Trio with Dolly Parton and Linda Ronstadt.. and we're gonna discuss all of it and much more.   All my writer's royalties from sales of the book benefit the kids and families at St. Jude Children's Research Hospital through our Music Gives to St. Jude Kids campaign. So I'd love for you to grab yourself a copy. And be sure to check out every episode of the podcast, our livestreams, and more at Volume.com/thesingerstalk. And if you like the show, please rate, review, and subscribe on your favorite streaming platforms to make sure you hear every new episode. Volume.com is the destination for live music fans, where you can watch live and on-demand performances, see exclusive artist content, listen to music podcasts, and check out live music streams from your favorite artists, venues, and hosts.   Get The Singers Talk book at: Thesingerstalk.com   Donate to St. Jude at: Musicgives.org   You can find JTG @Kingsizetheband Kingsizetheband.com    Jason Thomas Gordon is the lead singer/drummer of the Los Angeles rock band Kingsize, a screenwriter, author, and creator of Music Gives to St. Jude Kids, a campaign that raises money and awareness for St. Jude Children's Research Hospital through music-based initiatives. St. Jude was founded by Jason's grandfather, entertainer, Danny Thomas, in Memphis, Tennessee, in 1962. Jason also serves as a National Committee member of the hospital's board.          

The annual Vinyl Vault salute to Country music show - Some great tracks from the Country genre from the likes of The Byrds, Sturgill Simpson, Jamey Johnson, Johnny Cash, Chris Stapleton, Gram Parsons and many others. Broadcast on OAR 105.4FM Dunedin www.oar.org.nz

Grammy nominated artist Steve Forbert, best known for the classic "Romeo's Tune," is a true American musical treasure, a fact underscored by his newest album Daylight Savings Time, to be released on September 6, 2024 via Blue Rose Music. Like all his recordings of new songs, it's saturated with what renowned rock journalist Robert Christgau discerned as his "omnivorously observant" songwriting, marked by Steve's gift for finding the more profound meaning and magic within the spectrum of everyday moments of human existence and the character of the world around us as well as his abundant melodic and poetic enchantment."Like Warren Zevon, Gram Parsons, Bob Dylan, Tom Petty, and Bruce Springsteen, Steve Forbert has left his unmistakable imprint on the landscape of American music," says American Songwriter. Like these esteemed creative souls, his work is marked by distinctive qualities all its own and speaks genuinely to his listeners.   Daylight Savings Time is Forbert's 21st album and third release helmed by producer/engineer Steve Greenwell (Joss Stone, Gavin DeGraw); it's essential tracks cut old-school style at Greenwell's studio in Asbury Park, NJ, where Steve now resides. Learn more about Steve Forbert at https://www.steveforbert.comHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group  and co-founder of the iconic venue "The Station" in East TN. Billy's new album was released by Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.com Send us a Text Message.Support the Show.If you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

Tonight, we look at the life and career of Gram Parsons. The man is known as the pioneer of Country Rock. Without him, there would have been no Eagles, No Lynyrd Skynyrd, no Creedence Clearwater Revival. Gram Parsons started it all. From his work with The Byrds to the Flying Burrito Brothers (yes, that's a real band,) he was a vanguard. But if that's all there was to him, we wouldn't be discussing. What interests us is what happened to Gram after he died of a drug overdose at the age of 26. It's a story that is one part humorous, one part sad, and a testament to the power of friendship. Patreon.com/twotownsover tiktok.com/@twotownsoverpodcast Facebook.com/ttopod Instagram: @twotownsover podbean.com/twotownsover  

The new Sid Podcast picks up where the last one left off as it is a new collection of Byrds rarities. Listen up, dig in, and groove to the sounds which not only made the 1960s but still reverberate today!

In episode #38 of LLR, we explore and celebrate the deep discographies of some of our favorite artists. We'll revisit surprisingly solid solo efforts, sensational side projects, and often overlooked, audacious LP releases from way-back-when, which gave listeners a taste of the sonic greatness to come. Plug your noses and blow it out your ears, Podcast America…we're about to dive deep! Sonic contributors to episode thirty-eight of Lightnin' Licks Radio podcast include:  Derrick Harriott, Brothers Johnson, Holland-Dozier-Holland, Townes Van Zandt, James Todd Smith, George Gershwin & Michael Sweeney, Johnny Marr, The Smiths, Thin Lizzy, Ace Frehly, M. Ward, Bright Eyes, Monsters of Folk, Rose Royce, Jim Croce, Better Oblivion Community Center, Jim James, Desaparecidos, Modest Mouse, Califone, Ugly Casanova, Kids Bop kids (yeah!), Daryl Hall and John Oates, Dan the Automator, Gulliver, Tim Moore, Bay City Rollers, Adrianne Lenker, Buck Meek, Big Thief, Billy Bob Thorton, Phill Collins, James Taylor, Jackson Browne, Leland Sklar, Russ Kunkel, Kootch, Carol King, The City, Judee Sill, The Byrds, Dillard & Clark, Gram Parsons, Gene Clark, President Joe Biden, The Cars, Ric Ocasek, Ministry, Digable Planets, Beastie Boys, Shabazz Palaces, Latin Playboys, Los Lobos, Chris Keys, and the Clockers. LLR mixtape #38: [SIDE ONE] (1) Shabazz Palaces - #CAKE (2) Latin Playboys - Crayon Sun (3) Gene Clark - Strength of Strings (4) Desaparecidos - City on the Hill (5) Adrianne Lenker & Buck Meek - money [SIDE TWO] (1) Gulliver - Lemon Road (2) Ugly Casanova - Hotcha Girls (3) The City - Paradise Alley (4) Monsters of Folk - Losin' Yo Head Ric Ocasek - Time Bomb Thanks so much for tuning in. LLR will return in a few weeks with another bonus episode featuring a super-special-secret guest. Do your best to stay hydrated and practice selfcare. Making your way in the world today takes everything you've got. Taking a break from all your worries sure would help a lot. Wouldn't you like to get away? Why ask why? Try Blue Chair Bay flavored rums and head outside, let the sun hit you. Stream, rent, or buy the excellent documentary The Immediate Family, it's Kootch approved!

Change out your granny glasses and paisley shirts for cowboy hats and bolo ties!Hilary and Cody talk bout The Byrds' 1968 "Sweetheart of the Rodeo." A different direction for a very different-looking Byrds, this record took the group to Nashville, where they received a...less than warm reception from the local media.Gram Parsons' influence on this album cannot be overstated, and the result is one of the templates from which country-rock developed.The reputation and influence of "Sweetheart of the Rodeo" has only grown over time. Whether it's one of the Dylan covers, or the gorgeous Hickory Wind, this record in all of its lap steel glory will have you reminiscing around a campfire that suddenly appears in your living room.Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

Stan Erraught in conversation with David Eastaugh The Stars Of Heaven were formed in 1983 by Stephen Ryan (vocals, guitar), Stan Erraught (guitar, formerly of The Peridots), Peter O'Sullivan (bass guitar), and Bernard Walsh (drums).They were strongly influenced by The Byrds and Gram Parsons, even being labelled "Ireland's answer to The Byrds, Gram Parsons and the Velvet Underground all in one package". After a début single on the Hotwire label ("Clothes of Pride") which received airplay from John Peel, they were signed by Rough Trade, who issued the album Sacred Heart Hotel in 1986, which reached number 11 on the UK Independent Chart. Peel's patronage continued throughout their career, with the band recording four sessions for his BBC Radio 1 show, the first of which was included on Sacred Heart Hotel. They also appeared on RTÉ television. They released a further single and EP ("Never Saw You"/The Holyhead EP) which was a top five hit on the independent chart, and in 1988, Rough Trade released their second and final album, Speak Slowly, which peaked at number 6. Speak Slowly included the track Lights Of Tetouan, although this was not released as a single. The song is written by the band's singer, Stephen Ryan, about growing up on the south coast of Spain from where he could see the Moroccan town of Tetouan. Lights Of Tetouan was covered by Everything But the Girl on their 1994 EP Rollercoaster. Along with the original, as this version is a B-side, it is not widely known/available. However, it is available for listening/viewing online. The band split up shortly after the release of Speak Slowly with Ryan going on to form a new band, The Revenants, along with former members of The Would-Be's and Something Happens, who released two albums (Horse of a Different Colour and Septober Nowonder) in 1993 and 1995, respectively.

Six String Hayride Podcast Episode 42, The 70's Part One, 1970-1974. Cosmic Cowboys Michael Nesmith, Gram Parsons, John Prine, Billy Joe Shaver, Jerry Garcia, and Bob Weir erase the lines between Folk, Rock, and Country while creating great Cosmic Country Music. George and Tammy, Loretta and Conway, Roy and Buck become some of the most iconic duos in Country Music. Charley Pride, Lynn Anderson, Merle Haggard, Ray Price, and Dolly Parton amaze their audience and the Award Shows give them a truck load of trophies. Hee Haw brings brilliant musicians to Television. Saturday Mornings are for Pop Tarts and School House Rock. We're going to the movies for The Godfather, American Graffiti, Willie Wonka, and SHAFT,. Mel Brooks cracks us up with Young Frankenstein and Blazing Saddles. Steve McQueen and Paul Newman lead the disaster movie craze with the Towering Inferno and Bruce Lee kicks everyone's ass. Willie and Waylon plot an outlaw takeover for the second half of the 70's. The 1970's Part One with Chris and Jim, the hot songs and great movies you love and the Johnny – June Carrot Cake Recipe. Coming This Sunday from Six String Hayride Podcast.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

In this special episode of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd take a musical journey back to 1974, the year Professor Aubrey was born. Join them as they dive into the albums released that year, featuring iconic artists such as Carly Simon, Bob Dylan, Joni Mitchell, Barbara Streisand, Gram Parsons, Gordon Lightfoot, The Doobie Brothers, Dolly Parton, The Pointer Sisters, Kiss, Queen, Aerosmith, Frank Zappa, Lynyrd Skynyrd, Billy Preston, David Bowie, Bad Company, Ray Stevens, John Denver, Elton John, Eric Clapton, and Donnie and Marie Osmond. Stay tuned next week for more 1974 in Music talk. In addition to the musical nostalgia, Professor Aubrey shares highlights from her birthday week celebration, offering a glimpse into her fun and festive activities. Meanwhile, Tim the Nerd discusses his unique experiences working with dogs, including the humorous challenges posed by dogs who love to mount other dogs. Tune in for a mix of musical history, personal stories, and plenty of laughs on this engaging episode! As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Support our sponsor, Coffee Bros. Head to their ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and when you make an order, put in promo code FTN10 to save 10% on your order. Head to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online. Friends Talking Nerdy is a proud member of the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Deluxe Edition Network⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Head to their website to find out more information about all the shows available on the Network. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ftnerdy/message

The Right Side of History. Who's on it now? Everybody knows. Checking the progressive shibboleth from Karl Marx to Rosa Luxemburg to Barack Obama. The “currents of history” now rolling MAGA. But will the Left try to tamper with destiny? Clarence Thomas on “north is still north” even when they're yelling at you. Meanwhile, a salute to American hero Mister Rogers. Yearning for a more innocent America. More on Muscle Cars. Trump clips from Philadelphia, Wisconsin and D.C. What, no more bacon? Illegal aliens murdering young women in Biden's America. Trump calls the family of Rachel Morin, mother of five. Reviewing 25 Ways America is being destroyed. Enough of all that maybe? Gram Parsons pedal steel. High altitude listeners. The tides of faith. Dark powers and principalities. Ephesians 6. With Great Listener Calls.See omnystudio.com/listener for privacy information.

Send us a Text Message.On this episode, we discuss one of the seminal bands of what would become the alternative country and Americana movement: the Long Ryders, and their 1984 debut LP Native Sons. Formed in Los Angeles in the early 1980s,  the Long Ryders were a counter to the synth-heavy music that was in vogue at the time.  Drawing on their diverse musical backgrounds (punk and garage rock, ska, country, and hard rock), the band combined their broad musical pallet to create a sound that was guitar based, influenced by the American music of the 1960's (most notably the Byrds and the Flying Burrito Brothers) and played with the raw energy of punk.  Their EP 10-5-60  introduced the world to the band's take on the fusion of country and rock, but it is with Native Sons,  a jangly, high octane ball of roots rock, folk, soul, psychedelia, and of course country,  where the band staked their claim as standard bearers of Gram Parsons' vision of "Cosmic America Music" updated for the post-punk age.  Visit us at www.tappingvinyl.com.

This week Danny and Tyler discuss the excellent country-rock songs of The Rolling Stones, and add "Dead Flowers" to the Ultimate Country Playlist.Though you likely associate them with classic rock and blues, The Rolling Stones' untouchable string of albums through the late 60's and early 70's is full of country sounds. The country influence of Gram Parsons and the country-inspired guitar work of Mick Taylor are especially present on the basically-perfect Exile on Main Street and the iconic Sticky Fingers; on this episode we'll be talking about why this is our favorite period in the Stones' long, long catalog.For just $5 a month you can help keep the lights on and get access to bonus episodes! Consider supporting us on Patreon HERE!Follow the link below to keep up with which songs are being added to our Ultimate Country Playlist on Spotify, now including "Dead Flowers"https://tinyurl.com/takethispodplaylist And now on TIDAL!https://t.co/MHEvOz2DOAWe know you know The Rolling Stones, but here's some of our other favorites if you're curious:Moonlight MileCan You Hear Me KnockingLoving CupShe's a RainbowHappyPlay With FireSweet Black AngelPaint It, BlackGimme ShelterLet's Spend the Night TogetherCheck out our Patreon!Check out our new merch store!Instagram: @TakeThisPodandShoveItFor everything else click HERE!Want to create your own great podcast? Why not start today! We use BuzzSprout for hosting and have loved it. So we suggest you give them a try as well! Buzzsprout gets your show listed in every major podcast platform, and makes understanding your podcast data a breeze. Follow this link to let Buzzsprout know we sent you—you'll get a $20 credit if you sign up for a paid plan, and it helps support our show.

"Behind the Scenes with Rob Bleetstein: Archiving the Legacy of the NRPS"Larry's guest, Rob Bleetstein, is known for his role as the host of the live concerts on the Sirius XM Grateful Dead station and as the voice of Pearl Jam Radio. In today's episode, he discusses the recently released live album "Hempsteader" by the New Riders Of The Purple Sage (NRPS), where he serves as the archivist and producer.The New Riders of the Purple Sage is an American country rock band that emerged from the psychedelic rock scene in San Francisco in 1969, with original members including some from the Grateful Dead. Their roots trace back to the early 1960s folk and beatnik scene around Stanford University, where Jerry Garcia and David Nelson played gigs together. Influenced by American folk music and rock and roll, the band formed, including Garcia on pedal steel guitar initially.The discussion delves into the background of the NRPS, their albums, and notable tracks like "Panama Red," written by Peter Rowan and popularized by the band. The album "New Riders of the Purple Sage" features Garcia on pedal steel guitar and includes tracks like "Henry," a humorous tale of marijuana smuggling.Throughout the show, various NRPS tracks are highlighted, showcasing the band's eclectic style and songwriting. Additionally, news segments cover topics such as the DEA's agreement to reschedule marijuana and updates from the music industry, including rare concert appearances and tour plans.Overall, the episode provides insights into the NRPS's music, their influence on the country rock genre, and relevant news in the marijuana and music industries. Larry's Notes Rob Bleetstein who many folks know as the host of the three live concerts played every day on the Sirius XM Grateful Dead station.  Also the voice of Pearl Jam Radio. And, most importantly for today's episode, the archivist for the New Riders Of The Purple Sage and the producer of the Hempsteader album. Today, featuring recently released NRPS live album, “Hempsteader” from the band's performance at the Calderone Concert Hall in Hempstead, NY on June 25, 1976, just shy of 48 years ago.New Riders of the Purple Sage is an American country rock band. The group emerged from the psychedelic rock scene in San Francisco in 1969 and its original lineup included several members of the Grateful Dead.[2] The band is sometimes referred to as the New Riders or as NRPS.The roots of the New Riders can be traced back to the early 1960s Peninsulafolk/beatnikscene centered on Stanford University's now-defunct Perry Lane housing complex in Menlo Park, California where future Grateful Dead guitarist Jerry Garcia often played gigs with like-minded guitarist David Nelson. The young John Dawson (also known as "Marmaduke") also played some concerts with Garcia, Nelson, and their compatriots while visiting relatives on summer vacation. Enamored of the sounds of Bakersfield-style country music, Dawson would turn his older friends on to the work of Merle Haggard and Buck Owens and provided a vital link between Timothy Leary's International Federation for Internal Freedom in Millbrook, New York (Dawson having boarded at the Millbrook School) and the Menlo Park bohemian coterie nurtured by Ken Kesey.Inspired by American folk music, rock and roll, and blues, Garcia formed the Grateful Dead (initially known as The Warlocks) with blues singer Ron "Pigpen" McKernan, while Nelson joined the similarly inclined New Delhi River Band (which would eventually come to include bassist Dave Torbert) shortly thereafter.  The group came to enjoy a cult following in Santa Clara and Santa Cruz Counties through the Summer of Love until their dissolution in early 1968.In 1969, Nelson contributed to the Dead's Aoxomoxoa album in 1969.  During this period Nelson and Garcia played intermittently in an early iteration of High Country, a traditional bluegrass ensemble formed by the remnants of the Peninsula folk scene.By early 1969, Dawson had returned to Los Altos Hills and also contributed to Aoxomoxoa.  After a mescaline experience at Pinnacles National Park with Torbert and Matthew Kelly, he began to compose songs on a regular basis working in a psychedelic country fusion genre not unlike Gram Parsons' Flying Burrito Brothers.Dawson's vision was prescient, as 1969 marked the emergence of country rock via Bob Dylan, The Band, The Flying Burrito Brothers, Poco, the Dillard & Clark Band, and the Clarence White-era Byrds. Around this time, Garcia was similarly inspired to take up the pedal steel guitar, and an informal line-up including Dawson, Garcia, and Peninsula folk veteran Peter Grant (on banjo) began playing coffeehouse and hofbrau concerts together when the Grateful Dead were not touring. Their repertoire included country standards, traditional bluegrass, Dawson originals, and a few Dylan covers ("Lay Lady Lay", "You Ain't Goin' Nowhere", "Mighty Quinn"). By the summer of 1969 it was decided that a full band would be formed and David Nelson was recruited to play lead guitar.In addition to Nelson, Dawson (on acoustic guitar), and Garcia (continuing to play pedal steel), the original line-up of the band that came to be known as the New Riders of the Purple Sage (a nod to the Foy Willing-led Western swing combo from the 1940s, Riders of the Purple Sage, which borrowed its name from the Zane Grey novel) consisted of Alembic Studio engineer Bob Matthews on electric bass and Mickey Hart of the Grateful Dead on drums; bassist Phil Lesh also played sporadically with the ensemble in lieu of Matthews through the end of the year, as documented by the late 1969 demos later included on the Before Time Began archival release. Lyricist Robert Hunter briefly rehearsed with the band on bass in early 1970 before the permanent hiring of Torbert in April of that year.[8] The most commercially successful configuration of the New Riders would come to encompass Dawson, Nelson, Torbert, Spencer Dryden (of Jefferson Airplane fame), and Buddy Cage.After a few warmup gigs throughout the Bay Area in 1969, Dawson, Nelson, and Torbert began to tour in May 1970 as part of a tripartite bill advertised as "An Evening with the Grateful Dead". An acoustic Grateful Dead set that often included contributions from Dawson and Nelson would then segue into New Riders and electric Dead sets, obviating the need to hire external opening acts. With the New Riders desiring to become more of a self-sufficient group and Garcia needing to focus on his other responsibilities, the musician parted ways with the group in November 1971. Seasoned pedal steel player Buddy Cage was recruited from Ian and Sylvia's Great Speckled Bird to replace Garcia. In 1977 and 1978, NRPS did open several Dead and JGB shows, including the final concert preceding the closure of Winterland on December 31, 1978.In 1974, Torbert left NRPS; he and Matthew Kelly co-founded the band Kingfish (best known for Bob Weir's membership during the Grateful Dead's late-1974 to mid-1976 touring hiatus) the year before. In 1997, the New Riders of the Purple Sage split up. Dawson retired from music and moved to Mexico to become an English teacher. By this time, Nelson had started his own David Nelson Band. There was a reunion performance in 2001. In 2002, the New Riders accepted a Lifetime Achievement Award from High Times magazine. Allen Kemp died on June 25, 2009.[13][14] John "Marmaduke" Dawson died in Mexico on July 21, 2009, at the age of 64.[15][16]Pedal steel guitarist Buddy Cage died on February 5, 2020, at age 73. (Rob – this is mostly notes for me today so I can sound like I know what I'm talking about.  I'll go through some of it to set some background for the band, but feel free to take the lead on talking about those aspects of the band, and its musicians, that you enjoy most or find most interesting – keeping in mind that our target audience presumably are fans of marijuana and the Dead.)   INTRO:                Panama Red                                Track #1                                Start – 1:49 Written by Peter Rowan “Panama Red” is well known in the jam-grass scene, but it's perhaps not as widely known that Peter Rowan wrote the song.It was originally a 1973 hit for the New Riders of the Purple Sage, and the first popular version with Rowan singing and playing it came when the supergroup Old & In the Way, released their eponymous album in 1975, two years after their seminal time, in 1973, and a year after they disbanded. Jerry Garcia was the connective tissue between the two projects, playing pedal steel in the early New Riders and banjo in Old & In the Way. “I wrote ‘Panama Red' after leaving my first project with David Grisman, Earth Opera, around the summer of the Woodstock music festival [1969],” Rowan explains. “It's a fun song because it captures the vibe of the time. I was from the East Coast, but I found there to be more creativity on the West Coast during that time period.“Nobody wanted to do ‘Panama Red' on the East Coast. I took it to Seatrain [the roots fusion band in which Rowan played from 1969 to 1972], and when it eventually became a hit, the manager of Seatrain claimed it. I never saw any money, even though it became the title of an album for the New Riders of the Purple Sage [1973's The Adventures of Panama Red]. “The subject was "taboo" in those days. You did jail time for pot. So that might have scared commercial interests. But Garcia was a green light all the way! "Oh sure" was his motto, both ironically and straight but always with a twinkle in his eye! After Seatrain management kept all the money, Jerry suggested I bring the song to Marmaduke and Nelson!" “When David Grisman and I got back together for Old & In the Way in 1973 with Jerry Garcia, Vassar Clements and John Khan, we started playing it.”From the NRPS album “The Adventures of Panama Red”, their fourth country rock album released in October 1973. It is widely regarded as one of the group's best efforts, and reached number 55 on the Billboard charts.The album includes two songs written by Peter Rowan — "Panama Red", which became a radio hit, and "Lonesome L.A. Cowboy". Another song, "Kick in the Head", was written by Robert Hunter. Donna Jean Godchaux and Buffy Sainte-Marie contribute background vocals on several tracks.  SHOW No. 1:   Fifteen Days Under The Hood                                Track #41:55 – 3:13 Written by Jack Tempchin and Warren Hughey.  Jack Tempchin is an American musician and singer-songwriter who wrote the Eagles song "Peaceful Easy Feeling"[1] and co-wrote "Already Gone",[2] "The Girl from Yesterday",[3]"Somebody"[4]and "It's Your World Now".[5] Released as the opening song on the NRPS album, “New Riders”, their seventh studio album, released in 1976 SHOW No. 2:   Henry                                Track #6                                1:19 – 3:05 "Henry", written by John Dawson, a traditional shuffle with contemporary lyrics about marijuana smuggling.  From the band's debut album, “New Riders of the Purple Sage”, released by Columbia Records in August, 1971.  New Riders of the Purple Sage is the only studio album by the New Riders to feature co-founder Jerry Garcia of the Grateful Dead on pedal steel guitar. He is also featured on the live albums Vintage NRPS and Bear's Sonic Journals: Dawn of the New Riders of the Purple Sage.Mickey Hart and Commander Cody play drums and piano, respectively, on two tracks—"Dirty Business" and "Last Lonely Eagle".Then, there's a swerving left turn away from romance tunes on this album with ‘Henry‘, whose titular hero has stepped right out of a Gilbert Shelton underground comic.  At a frenetic pace the story of Henry's run to Mexico to fetch twenty kilos of (Acapulco?) gold unravels, with Henry driving home after sampling the wares “Henry tasted, he got wasted couldn't even see – how he's going to drive like that is not too clear to me.”  It's a joke, but a joke that sounds pretty good even after repeat listens.SHOW No. 3:   Portland Woman                                Track #9                                :34 – 2:00 Another Marmaduke tune from the NRPS album released in August, 1971.A bittersweet love song progressing from touring boredom to be relieved by a casual hook-up with the pay-off with the realization that the Portland Woman who “treats you right” has actually made a deeper connection “I'm going back to my Portland woman, I don't want to be alone tonight.”   SHOW No. 4:   You Never Can Tell                                Track #15                                :51 – 2:26 You Never Can Tell", also known as "C'est La Vie" or "Teenage Wedding", is a song written by Chuck Berry. It was composed in the early 1960s while Berry was in federal prison for violating the Mann Act.[2] Released in 1964 on the album St. Louis to Liverpool and the follow-up single to Berry's final Top Ten hit of the 1960s: "No Particular Place to Go", "You Never Can Tell" reached number 14, becoming Berry's final Top 40 hit until "My Ding-a-Ling", a number 1 in October 1972.  Berry's recording features an iconic piano hook played by Johnnie Johnson.  The piano melody was influenced by Mitchell Torok's 1953 hit "Caribbean". The song has also been recorded or performed by Chely Wright, New Riders of the Purple Sage, the Jerry Garcia Band, Bruce Springsteen, the Mavericks, and Buster Shuffle.  JGB performed it almost 40 times in the early ‘90's. The song became popular again after the 1994 release of the film Pulp Fiction, directed and co-written by Quentin Tarantino. The music was played for a "Twist contest" in which Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) competed (and were the only contestants shown in the film). The music added an evocative element of sound to the narrative and Tarantino said that the song's lyrics of "Pierre" and "Mademoiselle" gave the scene a "uniquely '50s French New Wave dance sequence feel".  OUTRO:              Glendale Train                                Track #17                                1:30 – 3:14 Still another Marmaduke tune from the “New Riders of the Purple Sage” album released in late summer 1971.   MJ News:Just one MJ News story today important enough to take a few minutes to talk MJ:  DEA's agreement to reschedule MJ to Schedule 3 from Schedule 1.DEA Agrees To Reschedule Marijuana Under Federal Law In Historic Move Following Biden-Directed Health Agency's Recommendation - Marijuana Moment Benefits:  banking services, no 280(e) restrictions on what expenses retailers can deduct and allows for full medical research of MJ. Negatives:  Still illegal, all drugs on Schedules I, II and III must be prescribed by a licensed health care provider with prescription privileges and can only be dispenses by licensed pharmacists.  Music News:A few quick hits re Music (no real need to get into any of these but I like to see what's going on so I don't miss anything interesting, these are the first things that get cut when we decide we want to keep talking): Jaimoe makes rare public concert appearance with Friends of the Brothers in Fairfield CN, plays ABB hitsJaimoe Takes Part in Rare Public Concert Appearance, Revisits Allman Brothers Band Classics (relix.com) Mike Gordon sits in at the Dodd's Dead Residency at Nectar's in Burlingtron, VT as part of “Grateful Dead Tuesday”.  Plays He's Gone and Scarlet (we have some Phish fans as listeners so try to toss a few bones to them)Listen: Mike Gordon Offers Grateful Dead Classics at Nectar's (A Gallery + Recap) (relix.com) David Gilmour may be planning first tour since 2016, won't play any Pink Floyd songs from the ‘70's – like the old Doonesbury strip where Elvis comes back from the Dead, Trump hires him to play in one of his casinos and at the start of the show, Elvis announces that he is only playing the songs of the late great John Denver.David Gilmour Plots First Tour Since 2016 (relix.com) Roy Carter, founder of High Sierra Music Festival passes away.Roy Carter, High Sierra Music Festival Founder, Passes Away at 68 (relix.com) .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

This week we say goodbye to Gram and it doesn't end there - buckle up for a wild ride, this week on the Rock and Roll Heaven Podcast! To Audition for Cheart Breakers - https://www.chartbreakers.tv/ Our social stuff: Patreon.com/rockandrollheaven Twitter: @rockandrolllt Instagram: Rockandrollheavenlt Facebook: Rock and Roll Heaven Pod Our website: https://rockandrollheavenl.wixsite.com/mysite Tick Tok: rockandrollheavenpod Email us! rockandrollheavenlt@gmail.com Check out the other awesome Pantheon Podcast at www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

En octubre de 1984 se lanzó el disco “Native sons”, primer álbum de The Long Ryders. Con motivo de su 40 aniversario Cherry Red Records reedita aquel trabajo en una caja de tres discos que incluye sus primeros EP’s, las demos del álbum, unas maquetas de 1982 o un directo registrado en su primera visita a Londres a comienzos de 1985. Excusa perfecta para recordar los inicios de estos padres fundadores de lo que vino a llamarse country rock alternativo, un estilo heredero de las enseñanzas de Gram Parsons o los Byrds, pero empapando aquel sonido con la energía del punk o las esencias psicodélico garageras de Sunset Strip a finales de los 60.Playlist (todas las canciones del box set "Native Sons expanded edition")THE LONG RYDERS “Final wild son” (Native sons)THE LONG RYDERS “Still get by” (Native sons)THE LONG RYDERS “Tell it to the judge on sunday” (Native sons)THE LONG RYDERS “Wreck of the 809” (Native sons)THE LONG RYDERS “Run Dusty run” (Native sons)THE LONG RYDERS “And she rides” (10-5-60 EP)THE LONG RYDERS “The trip” (5x5 sessions)THE LONG RYDERS “10-5-60” (Radio Tokyo demo)THE LONG RYDERS “Ivory tower” (Native sons demo)THE LONG RYDERS “I’ll get out somehow” (Native sons demo)THE LONG RYDERS “I had a dream” (live 1985)THE LONG RYDERS “I can’t hide” (live 1985)THE LONG RYDERS “State of my Union” (live 1985)THE LONG RYDERS “Too close to the light” (Native sons)Escuchar audio

We are nearing the end - Gram's addiction takes hold. He loses his close friends Clarence, Sid, and Brandon. Loses his wife and makes a deal that will take us well past his death. All this week on the Rock and Roll Heaven Podcast Know a country music singer. - songwriter? Have them apply for Chartbreaker Season 2 now! https://chartbreakersasearchforthenextgreatcountrysingersongwriter.castingcrane.com/ Our social stuff: Patreon.com/rockandrollheaven Twitter: @rockandrolllt Instagram: Rockandrollheavenlt Facebook: Rock and Roll Heaven Pod Our website: https://rockandrollheavenl.wixsite.com/mysite Tick Tok: rockandrollheavenpod Email us! rockandrollheavenlt@gmail.com Check out the other awesome Pantheon Podcast at www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we cover Gram's time in the FBB, his friendship with the Stones, and meeting his future wife....what else will we get into? You never know unless you listen! Want to Apply for the Show? Check below!! https://www.chartbreakers.tv/ or email Lynly at casting@blueeyesent.com Our social stuff: Patreon.com/rockandrollheaven Twitter: @rockandrolllt Instagram: Rockandrollheavenlt Facebook: Rock and Roll Heaven Pod Our website: https://rockandrollheavenl.wixsite.com/mysite Tick Tok: rockandrollheavenpod Email us! rockandrollheavenlt@gmail.com Check out the other awesome Pantheon Podcast at www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we cover the criminally underrated album The Gilded Palace of Sin and just a pinch of Gram's life and loves. *Also if you catch LD say PLACE instead of Palace - just ignore her, she is dumb. Learn more about your ad choices. Visit megaphone.fm/adchoices

The original band was formed in 1968 in Los Angeles as The Flying Burrito Brothers.  Its classic lineup featured country rock pioneer, the late Gram Parsons, and former founding Byrds members bassist Chris Hillman and drummer Michael Clarke, along with eventual original Eagles member Bernie Leadon on lead guitar and pedal steel guitar genius Sneaky Pete Kleinow. The band's first two albums, The Gilded Palace of Sin (which Rolling Stone listed at number 192 on its list of 500 Greatest Albums of All Time) and Burrito Deluxe, remain highly influential, acclaimed works which helped put country-rock on the map.  Because Parsons and Keith Richards were good friends, Burrito Deluxe contains the first issued version of the Mick Jagger/Keith Richards-written song "Wild Horses," released almost a year before the The Rolling Stones own take on it appeared on Sticky Fingers.  These days, the band, who formed the current incarnation of the Burritos in 2009, and are now based in Nashville, features Chris P. James on keys and lead vocals, guitarist Steve Allen, Tony Paoletta on pedal steel and drummer Peter Young…all extremely talented musicians who love being involved with the band's legacy and creating new music to keep that legacy alive. Chris, Tony, and Pete have played together since the 1990 starting together in the band Mr. Hyde. They know each other's musical moves every which way possible. This band is tuned in, turned on, upbeat and loaded with great songwriting and musicianship. These guys are truly “brothers.” Steve Allen has got the guitar thing going strong with benders and 12-strings and telecasters and acoustics He also plays.  A mean bass. “Smiling” Tony Paoletta is a truly gifted pedal steel player. He's fully versed in the Sneaky Pete oeuvre. And, essentially, every other steel player who came before him. Tony brings unlimited creativity to the table. His admirers are legion. Peter Young is a consummate drummer. The familiarity these fellows have with each other's musicianship is near-perfect. Everything's fine cuz Pete's holdin' down the time. Been doing it a long, long while. In various combinations, these guys have recorded more sessions together than you could count. Pete sings a real nice harmony too. And Chris P. James is their front man. He plays keyboards and guitar and harmonica. Writes songs too. He wound up with the Burrito Brothers in 2009. He was offered a record deal to make a new album in 2010 by the group that would trademark and continue as The Burrito Brothers. Or he could decline. What kind of choice is that? Of course, The Burrito Brothers are alive! And that is definitely a good, good thing. They continue to carry the torch via the Together release, which features superb musicianship, tight ensemble playing, beautiful harmonies and excellent songwriting. The album features 10 new, tracks that continue in the Burrito's longstanding musical tradition while forging ahead in the present and towards the future.  Track Listing: 1.Ms Misery / 2. Mr. Customs Man / 3. Together / 4. I Find Love / 5. Let Go / 6. Blood On His Hands / 7. Boiling Point / 8. Streets Of Santa Rosa /  9. I Live For Loving You / 10. History Suite Will James from Gram Parsons International says, ““This latest incarnation is the closest to the original FBB sound of all of the previous bands.” Gram Parsons said it best…The idea'll keep going on. It's not like it's dead or anything. Whether I do it or anybody else does it, it's got to keep going."    Please use the following links below to access all things The Burrito Brothers including photos, bio, and a discography. The Burrito Brothers website:  www.TheBurritoBrothers.net Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the LEGENDS Podcast by All Day Vinyl, our host Scott Dudelson speaks with a Rock and Roll Hall of Fame inductee, country rock pioneer and co-founder of Buffalo Springfield & Poco - Richie Furay. Furay describes his extraordinary musical journey which has spanned over four decades and his intriguing transition from a rock star to a pastor, and an in-depth recollection of his time with The Buffalo Springfield and Poco. This episode offers a unique ride through music history as Richie Furay discusses the days before Buffalo Springfield's meeting & playing with Stephen Stills in a small apartment, meeting Neil Young on Sunset Strip and recollections of the early days of the band, through the making of Buffalo Springfield Again. Furay talks about the songs he sings written by and about Neil Young, the unique curiosities and co-writes that make up the album "Last Time Around," (Hard to Wait, The Hour of Not Quite Rain), the infamous police raid in 1968 that found Neil Young, Eric Clapton and Richie hauled to a Los Angeles jail, the first meeting with Rusty Young, the exit of Randy Meisner from Poco, Furay's relationship with Gram Parsons and later transition to ministering. Fans of Buffalo Springfield and Poco will find this episode particularly engaging and will shed further insights onto the music that you already love. Be sure to check out other episodes of LEGENDS: Podcast by All Day Vinyl for more interviews with legendary musicians. Editors Note: Interview conducted March 2024

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the fourth and final part of a four-episode look at the Byrds in 1966-69 and the birth of country rock, this time mostly focused on what Gram Parsons and Chris Hillman did after leaving the band. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode, on “The Dark End of the Street” by James Carr. 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…)

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

We're re-casting Nate's 2021 interview with David N Meyer author of "Twenty Thousand Roads: The Ballad of Gram Parsons and His Cosmic American Music" Buy the book and support the show. CHECK OUT THE LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is just a brief announcement. The fact that I've released stuff so inconsistently over the last year, along with the last episode being so long that it actually caused problems for Tilt's editing softwaere has caused me to reconsider how I'm breaking these episodes up. I have had very good reasons for making the episodes longer rather than doing multiple parts -- we would have had episodes titled "White Light/White Heat", "Eight Miles High", and "Good Vibrations" which literally didn't mention at all the bands they were ostensibly about, and people would have got very annoyed at listening to an episode supposedly about the Beach Boys and finding it was entirely about a Soviet inventor in the 1920s. But the balance has tipped the other way now. Things have got a bit ridiculous. So what I'm doing npw is I'm still writing the scripts the same way I always do, as one long narrative, but then once a script is finished I will break it into sections of about 5-10,000 words (somewhere in the 45-minute to ninety minute range) depending on where natural cliffhangers come, and I will release those parts fortnightly. There still might be gaps between the last part of the previous song and the first part of the next, but probably nothing like as long as they have been. The actual content will still be the same -- just for example the Velvet Underground episode would have been split into three or four parts, with the first part ending with John Cale joining the story, and me saying "join us in two weeks time".  But it'll be broken up into more manageable parts which hopefully won't cause Tilt's editing software to explode, and if you like listening to it all in one go you can just wait until the final part of that story and then listen to it all. So today you're going to get, not 'Episode 172, "Hickory Wind" by the Byrds', but 'SONG 172: "Hickory Wind" by the Byrds: Part 1, Ushering in a New Dimension", and then Song 172 part two two weeks later. I want to emphasise that this will still be *exactly the same content* as it would otherwise be. The stories will go on as long as they need to. Some will be a single episode, some will be three or four. But breaking it up like this should mean you get more consistent releases and I can get ahead. Indeed, it *might* mean I could go back to weekly episodes -- I've averaged somewhere in the region of thirty thousand words per month last year on the main podcast, which would be four seven-thousand-word episodes -- but I won't even think about that unless I start to actually build up a backlog. The stories should be getting shorter anyway as we finally move out of the late sixties, so the rate of storytelling *should* get faster, but this way at least you're going to get regular episodes. So listen to today's episode, and then join me again in precisely two weeks as Gram Parsons joins the story.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. 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/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

In honor of Independence Day, Jake continues to reflect back on clips from past DISGRACELAND episodes that best demonstrate the America that we know and love. In Pt. 2 of this special episode, we revisit moments featuring Whitney Houston and the Star Spangled Banner, James Brown and his old fashioned American work ethic, the Beach Boys' Dennis Wilson tearing down the PCH in Sam Cooke's old Ferrari, Gram Parsons and the origins of Cosmic American music, and many more. Learn more about your ad choices. Visit megaphone.fm/adchoices