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6 episodes with Great American Music Hall
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2 episodes with Great American Music Hall
2 episodes with Great American Music Hall
2 episodes with Great American Music Hall
2 episodes with Great American Music Hall
2 episodes with Great American Music Hall
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Nato Green started hanging out at San Francisco comedy clubs when he was in eighth grade. Nato's parents met when they both still lived in the suburbs of Chicago. They got married in 1968 and moved to San Francisco soon after that. Nato says that they “were in the counter-culture, but bad at it.” What he means by that is they didn't take their subversive lifestyles all the way like many of their peers did. But they were definitely left-leaning folks. They settled in Noe Valley, which was quite a different neighborhood back then. It was much more working-class than it is today. Think: blue-collar Irish- and Italian-American families. They had their first kid, Nato, and five years later, their second, his younger brother. When Nato was in middle school, his parents split up. He went with his dad to live at 22nd Street and Dolores, and then up to Bernal Hill. He split time between there and his mom's house in Noe Valley. Nato is quick to point out that Bernal Heights was also very different back then. There were even unpaved roads on the hill when he was a kid in the Seventies. Today, Nato uses history and some pop-culture references to date his own memories here in San Francisco. He remembers things like the Mosone/Milk murders and ensuing “White Night” riots, to name just one. The Forty-Niners' string of Super Bowl wins in the Eighties are another. Nato admits that he wasn't the best big brother. He lists off some of the SF schools he attended—Rooftop Elementary, MLK Middle School, and Lick-Wilmerding High School, where he went on a scholarship. His dad worked to the SFUSD for 35 years and worked on desegregation, among other things. He also taught in SF public schools. Nato says he was a “sensitive, depressed kid.” He read a lot, especially comic books. He graduated from high school in 1993, when the local music scene was overtaken by thrash/funk. Bands of that genre were plenty. Nato went to those shows, where he was able to, anyway. He wasn't yet 21. The first indie comic book store in The City was on 23rd Street in the Mission—The SF Comic Company, and two doors down was Scott's Comics and Cards. Nato became a Scott's regular. Others who hung out there a lot became his buddies. The SF band Limbomaniacs lived next to Scott's. Nato goes on a sidebar here about how bands in the thrash/funk scene never really blew up, mostly owing to what a uniquely live experience the music was. In 1990, when the Niners won the Super Bowl in a blowout, the Limbomanics played with guitar amps at the windows of their Victorian on 23rd Street, facing out. As Nato tells it, skater kids poured out of that house, and other neighborhood kids flocked to the scene. A mosh pit soon emerged, of course, on the asphalt. Nato goes on another quick sidebar here about all the different neighborhoods and scenes interacting on a regular basis. At least when he grew up, they did. Nato's main modes of transportation in San Francisco were his feet and Muni. The main bus lines were the 24, the 49, and the 67. His high school was on Ocean Avenue, but he mostly hung out in the Mission. One of his good friends lived in Lower Haight and had a car, so Nato would sometimes take Muni over there. That buddy with a car would also swing by and pick up Nato and his friends. They'd often go to the west side of town and hang out in coffeeshops. Nato rattles off several of those shops, also letting us what occupies those spaces today—Farley's (still there), Higher Grounds in Glen Park (still there), Higher Grounds in The Mission (closed), Café Macondo (Gestalt today), Blue Danube (still there), and the Horse Shoe (empty today). There's another sidebar about Jello Biafra. Nato says, “Don't meet your heroes.” As mentioned up top, he started hanging out at comedy clubs in The City when he was in eighth grade. There was a show on KQED called Comedy Tonight that featured local comics. Originally, the show was shot at Wolfgang's (now Cobb's), but it later moved to Great American Music Hall. Alex Bennet was on Live 105 in the morning and Comedy in the Park was drawing 50,000 people to the Polo Fields. There were five seven-nights-a-week clubs in SF, and at least five more around the Bay. People made a living as regional headliners. Around this time, Nato's eighth grade science teacher's roommate was the doorman at Cobb's. Word got around to that guy that a kid was into comedy, and so he started taking him to that club. He saw comedians such as Greg Proops, Dana Gould, Paula Poundstone, Mark Pitta, Johnny Steele, Will Durst, Greg Behrendt, and Margaret Cho. He watched these folks, some of them anyway, become headliners. Check back next week for Part 2 and the conclusion of our episode on Nato Green. We recorded this episode at Nato's home on Bernal Hill in January 2025. Photography by Nate Oliveira
Link to Tales From The Green Room Episode 27 Photography Gallery In this episode of Tales From The Green Room, Mount Tam Media takes listeners backstage at the Great American Music Hall in San Francisco during the Grateful Guitars Foundation Second Annual Benefit. Grateful Dead historian Dennis McNally shares some of his experiences with Jerry Garcia and his storied history with the band; David Hidalgo (Los Lobos) also reflects on his personal relationship and poignant moments with Garcia; Samson Grisman (Sam Grisman Project) and Steve Berlin (Los Lobos), interviewed together, engage in an entertaining conversation between two artists a generation apart, expressing their mutual respect for the other's era; Jill Simmons (Brown Eyed Women) tells of her journey from the East Coast leading to an appearance on this bill; and rising superstar, 17-year-old Bella Rayne delves into her ascent to notoriety in the jam band scene. Artist manager and music industry vet, Jack Barton also shares his insights; and singer-songwriter, multi-instrumentalist and multi-talented Alex Jordan makes a cameo while serving as music director for the show.The conversations in this “jam”-packed episode, recorded in the heart of the Great American Music Hall Green Room during the all-star benefit, revolve around the guests' experiences with Andy Logan's Grateful Guitars Foundation, sharing personal stories, musical journeys, and the magic of playing iconic instruments like Jerry Garcia's Alligator guitar. Tune in to hear spontaneous stories and deep reflections on their musical paths and the vibrant music scene.Quotes From The EpisodeHe looked like he had just fired down six fat ones…and he doesn't smoke…and his eyes were spinning. - Dennis McNally describing David Hidalgo after playing Jerry Garcia's Alligator guitar.The instrument's a living thing. It has a life of its own. It shouldn't be kept behind glass. It should be out in front of people. With that emotion passing through.- Jack Barton The biggest bummer about it these days is just how everybody's got a super computer in their pocket, and everybody's addicted to the shit, and unless you engage with social media, people don't know that you're active. - Sam Grisman I never imagined myself becoming a guitarist ever. I never had big aspirations to be a musician or play guitar at all. But I started playing during the pandemic. - Bella Rayne Honestly, I was thrilled to play with all of these musicians, but I have a special place in my heart for the guys from Los Lobos. Yeah. I mean, holy cow. What a thrill. - Jill Simmons From the beginning, I'm grateful. That we've been able to do what we've wanted to do all these years. And for it to come around to where it's at now. And the friends that we've made along the way. That's why we're here today. - David HidalgoMusic LinksBertha * Deadicated * Los LobosDavid Hidalgo with Los Lobos Playing Jerry Garcia's Alligator at the Fillmore 11/16/23Brown Eyed Women - Thunderbird Music Hall - 9/25/22 - Set 2Catfish JohnJerry Garcia Band - "Mission In The Rain" - Electric On The Eel (June 10th, 1989)Teach Your Children by Crosby, Stills, Nash & Young - 1970 (with lyrics) Links to Websiteshttps://www.dennismcnally.com/https://www.loslobos.org/site/https://www.samgrismanproject.net/https://browneyedwomen.com/https://www.bellaraynerocks.com/https://www.jackbartonentertainment.com/https://www.alexjordanjams.com/
Writer, Oxbow alum, Bunuel frontman and friend of the Lydian Spin, Eugene Robinson, joins Lydia and Tim to read from his memoir A Walk Across Dirty Water and Straight Into Murderer's Row and share other entertaining stories from his life. Catch Lydia and Eugene at San Francisco's Great American Music Hall on November 9th.
https://www.theguardian.com/music/2013/nov/26/john-fahey-blues-folk-guitar-pioneer#:~:text=For%20the%20uninitiated%2C%20The%20Transfiguration,good%20survey%20of%20his%20style.John Fahey (1939-2001) was a singular folklore musicologist, archivist, and record label entrepreneur who played his instrument like no other person alive.He made weird, earthy, mystical music, and lived a life to match.Bill and Rich are pleased to offer this excerpt from a 1979 Halloween concert given by Mr. Fahey in San Francisco at the famed Great American Music Hall.
Today's guests are more than just bandmates. Friends since the first grade -- with matching tattoos to boot -- being founding members of the influential Kansas collective The Get Up Kids has taken Rob Pope and Jim Suptic (along with Matt Pryor and Rob's brother Ryan) to seemingly every corner of the world since their 1995 formation. This year marks the 25th anniversary of their breakthrough sophomore LP Something to Write Home About — an album layered in lovelorn distance and declarations of proving oneself. Back then, Jim and Rob say that getting the album out was a frustrating practice in learning who to trust; at the moment, currently on tour playing the album in full, the pair look at the release as a "coming-of-age" album, one that inspired and launched thousands of bands itself through its heroic melodies and relatable points of view. Recorded backstage at the legendary Great American Music Hall in San Francisco, Jim and Rob discuss the two-sided coin of nostalgia, what inspires them about each other, and why maple syrup isn't always a positive smell. The band's 2LP Something to Write Home About reissue, complete with demos and previously unheard material, is available now via digital platforms, and physically on September 20th. Tour dates and more can be found at thegetupkids.com.
Today in 1975, a famous concert by the Grateful Dead at San Francisco's Great American Music Hall. And if you look closely at the credits, you'll see a peculiar listing that reads “Mickey Hart - percussion and crickets.” Plus: this week in Maine, it's the Machias Wild Blueberry Festival. So many roads : the life and times of the Grateful Dead by David Browne (via Google Books) Machias Wild Blueberry Festival Keep this long, strange trip of a show going as a backer on Patreon --- Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support
Greetings Dead Freaks!BrokedownPod returns with new music, a great guest, and some good old Grateful Dead. Andy Logan, founder of the Grateful Guitars Foundation and steward of Jerry Garcia's Alligator guitar joins me to discuss the mission of the foundation, the magic within these special instruments, a new benefit album, and the upcoming show to support the foundation. The new album, which benefits Grateful Guitars, is called "Grateful: The Music Plays The Band" and features Oteil Burbridge, Dave Nelson Band, Dark Star Orchestra, Afro Dead and more. It's out now and can be found in physical and streaming outlets via this link.The benefit concert is on August 13 at the Great American Music Hall (an auspicious date to be in that room) and features Melvin Seals, John Kadlecik, Pete Sears, Barry Sless, Dave Hidalgo and a bunch of other great players. Tickets are on sale now and you can learn more at the Grateful Guitars website. Please do check out the mission of the Grateful Guitars foundation and consider offering your support.Also in this episode, I spoke about a few new albums that I'm enjoying. From Elkhorn, I raved about the fuzzed out explorations on their album "Other Worlds", out now from Sunrise Ocean Bender/Feeding Tube/Cardinal Fuzz/Deep Water Acres. I didn't mention that the joint release is a tribute to the founder of SOB, Kevin McFadin who passed last year. I had some interactions with McFadin myself and enjoyed a number of SOB releases. He will certainly be missed.You can grip "Other Worlds" via Sunrise Ocean Bender's Bandcamp Page.You can grip the other Elkhorn release, "The Red Valley" from VHF records; also on Bandcamp.If you're on the hunt for some more new music, take a minute to peruse my Bandcamp collection. This is just stuff that I have picked up on the site over the years and I don't get anything from it other than the satisfaction that I've helped someone find something awesome.Last but far from least, the latest from Seawind of Battery, "East Coast Cosmic Dreamscaper" is available for your own dreamscape accompaniment via Warhen records. Note that the CD has a bonus track not on the LP! Check it out on Bandcamp. You can also grab my latest album, "So Below" from my Bandcamp page: JMHart.bandcamp.com and it you would like a BrokedownPod t-shirt or sticker or other merch in that vein, please head over to my Redbubble virtual merch table. All proceeds go straight toward hosting costs and are much appreciated.The Brokedown Podcast is part of Osiris Media. Osiris is creating a community that connects people like you with podcasts and live experiences about artists and topics you love. Check out osirispod.com for more!The Brokedown Podcast is on Mastodon! My account can be found @rowjimmy@shakedown.social. I still have an Instagram account under the handle, @brokedownpod. If you like pictures of things, you can find that here: BrokedownPod Instagram. Also, if you use Apple Podcasts, please consider posting a review as it really help get the word out.Also, please keep sending your metaphorical cards and letters. Leave a comment on the blog or hit me up on any of the above social media. Let me know what I'm doing right, wrong, or horribly wrong.
Joining us now is Asher Belsky, a guitar virtuoso, songwriter, and vocalist. His music, a fusion of rock and R&B, has resonated across the Bay Area, gracing renowned venues like the Black Cat Jazz Club, Great American Music Hall, and the Bottom of the Hill. And, he's only 19. You can catch Asher live at the Sweetwater Music Hall in Mill Vallet on Friday, JUNE 28th, for a 9 pm show. He's here to talk about that and much more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message
Heino [00:23] "Heute Singen Wir Mit Heino/Wißt Ihr Was? Heute Hat's Geschneit" Sing Mit Heino Folge 9 und 10 Winterzeit - Kinderzeit - Weihnachtzeit Hör Zu 1 C 066-45 322 1979 Sing along with Heino! And evidently, the old Deustschekrooner is still alive. For those of you who are unfamiliar with the German phenomenon that is Heino, of course, there's a documentary (https://youtu.be/M-39Unh0X2E?si=WlId8Vtympf3n2ob). The Four Roses Society [03:03] "Hand Me Down My Walkin' Cane/Deep in the Heart of Texas" Sing with the Four Roses Society Four Roses K8OP-6582 / 3 Well all right then. During my brief career as a liquor store clerk (one summer during college), Four Roses bourbon was not the esteemed brand it is today. It was easily found on the bottom shelf of the whiskey section. Kitty Wells [05:49] "Country Girl" Singing'em Country Decca DL 75221 1970 One of the contenders to the title of Queen of Country Music reminiscing at the ripe old age of 51. Elvis Presley [08:24] "Santa Bring My Baby Back (to Me)" Sings Christmas Songs - Elvis' Christmas Album RCA Victor LPM-1951 1957 (1964 reissue) An extremely well-worn seasonal classic. I'm surprised it sounds as good as it does, considering the state of the record surface. Odetta [12:45] "Don't Think Twice, It's Allright" Odetta Sings Dylan RCA Victor LSP-3324 An excellent rendition of this transitional Dylan single. To my mind, it is almost as good as the jangling toe-tapper version by Waylon Jennings (https://youtu.be/2GTl6-BJhvc?si=Ofi9FdbmGvJyqCKr). Bob McGrath with the Jimmy Joyce Singers [18:30] "Black and White" Sings for All the Boys and Girls Disneyland 1357 1974 Indeed, that Bob from Sesame Street. Helped out here by some of the Wrecking Crew including Tommy Tedesco and Earl Palmer. Inspired by the Three Dog Night version of this song (https://youtu.be/PEy6968xO-I?si=hNq9IL8tnQ9RCPDd), the song was originally recorded by Pete Seger in 1956 and with lyrics by David I. Arkin, father of Alan Arkin no less. Nat King Cole [22:21] "Autumn Leaves" Sings for Two in Love Capitol Records DT 420 1963 (original release 1953) This monophonic classic album is reinvigorated in beautiful Duophonic sound! Bonnie Prince Billy [25:03] "Ohio River Boat Song" Sings Greatest Palace Music Drag City DC252 / Palace Records PR31 A collection of Nashville-ified reimaginings Will Oldham's earlier work, with a number of Nashville greats, including Hargus "Pig" Robbins. The thing I love about seeing Will Oldham perform live in whatever configuration is that he seemingly never plays a song the same way twice. This pass at the debut single from Palace Music (https://youtu.be/jYVTkUTHENg?si=Iz69YWTah4Kmc4uO) exemplifies that spirit. Wayne Newton [30:00] "More (Theme from 'Mondo Cane')" Sings Hit Songs Capitol Records T 2130 1964 Despite rumblings in Memphis and New Orleans and even Liverpool by this point, the big band sound of the Greatest Generation continues to thrive in popular music. John McCormack [32:37] "The Foggy Dew" Sings Irish Songs Pickwick CAS-407 1975 Evidently, stereo, in this case, means slapping some reverb on the left channel. Despite being partially the result of Irish immigration, I am not sentimental, which is why I chose the shortest track for this collection. Lotte Lehman [34:41] "Ich Liebe Dich (Beethoven)" Sings Lieder, Vol. 1 Camden CAL-378 Pretty sure I grabbed this from the dollar bin because in my haste I thought it was Lotte Lenya. Colin Meloy [37:21] "Bandit Queen" Sings Live! Jealous Butcher Records JB-065 2008 From a solo tour Colin Meloy made in 2006, recorded at various venues, including this one that I happened to attend at the Great American Music Hall. This live album does do one of those things that drives me nuts, which is to put the stage banter for the upcoming song before the track break. Tom Jones [43:05] "In Dreams" Sings She's a Lady Parrot XPAS 71046 1971 Candy colored clown! (https://youtu.be/R7zukRlfzh8?si=110VDkQtE8m4jD52) Nat "King" Cole [46:30] "Blue Gardenia" Ballads of the Day Capitol Records DT 680 1960 (original release 1956) As performed in Fritz Lang's classic noir The Blue Gardenia (https://youtu.be/3bxSn2UMBMY?si=vKu34lBUOQstY3f4). Harry Belafonte [49:29] "A Fool For You" Sings the Blues RCA Victor LSP-1972 1958 A collection of blues standards, including this Ray Charles number. Ella Fitzgerald [53:09] "'S Wonderful" Sings the George and Ira Gershwin Song Book (Volume Two) Verve Records MG V-4025 1959 Helped out here by Nelson Riddle. An excellent cover painting by Bernard Buffet is featured on this album. Music behind the DJ: "Games People Play (https://youtu.be/hIBlCac8_wk?si=KjX6MUoC_zQ0qftn)" by Arthur Greenslade and his Orchesta
"Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance"Larry Mishkin discusses the creation of the song "The Music Never Stopped" by Bob Weir and John Perry Barlow. Weir explains his collaborative process with Barlow, where they developed lyrics together over the phone, inspired by Barlow's description of a scene from Wyoming. Weir also reflects on the importance of lyrical and musical cohesion, and the song's debut and history of performances, including at venues like the Great American Music Hall and the Palladium. The discussion transitions to Neil Young's recent tour with Crazy Horse, highlighting the band's performance and Young's energy despite his age. He also mentions upcoming events and concludes with a focus on the Grateful Dead's performance of "St. Stephen" and other songs from 47 years ago. Grateful DeadApril 30, 1977 (47 years ago, tomorrow)PalladiumNYCGrateful Dead Live at The Palladium on 1977-04-30 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape This is another good show from 1977, but the recording quality is actually not bad considering this is an audience recording. Since then the show has been commercially released as the first volume of the Grateful Dead Download Series if you want to hear the crisper soundboard recording.Highlights from this show are the first set Mississippi Half Step and even Looks Like Rain is played with a passion that is moving even if the song always is not. In the second set, the Dead start off with a Scarlet Begonias>Fire on the Mountain (pretty good), swing into a fun mid-set Good Lovin (common for that time, but for the last 15 years, it was almost always a set closer as an alternative to Sugar Mag) or an encore tune (send everyone home with a smile), Friend of the Devil , Estimated Prophet. And then they blow the doors off the place with a St. Stephen>Not Fade Away>Stella Blue>St. Stephen sandwich that must be heard in full to be truly appreciated. It's pretty awesome to hear Stella Blue transition back into the St. Stephen, an unusual pairing to say the least. Close with a Saturday Night and then yet another 1977 Terrapin Stationencore. INTRO: Music Never Stopped Track #2 0:00 – 1:26 Hunter Weir tune, released on Blues For Allah (Sept. 1,1975). Bob: As a lyricist I'm glacially slow. I can generally get the job done, but it takes too damned long. So I like to work with people who have a little more facility with that—you know, John Barlow, Garrett Grant, Robert Hunter.Or I may have a general notion of the color of the rhythm and the harmonic or melodic development, and I'll sit with a guy and we just fire blank verse at each other until we start to corner that color—and then often the song will fall right out of the sky. Other times, I may have no notion of where the song wants to go, in which case I'll let whoever I'm working with surprise me. . . .“The Music Never Stopped” is a song that we wrote over the telephone. I had this business going [plays opening guitar riff, Example 13 below]. So I played this over the phone to John, and he just started spitting stuff at me. The first line came out, “There's mosquitoes on the river / Fish are rising up like birds.” He was living in Wyoming at the time on a ranch, and he started describing a situation that I'd seen with him, where it was late summer on a dry year and things were hot and kind of dull and dead.So where are we going to take this? Well, first I figured the verse is going to have to be twice as long as I originally figured, because if you're starting with an image that thick, you have to get into some detail about it. “It's been hot for seven weeks now / Too hot to even speak now / Did you hear what I just heard?” That last line came after some deliberation. It's a pregnant line, sort of like a leading tone in a harmonic development.The success of the endeavor, if you're working with a lyricist, depends on how closely the lyric marries the music. With Barlow or Gerrit Graham or whoever, there's a lot of back and forth. I guess I get to be the decider, because the words are going to have to come from my lips. And so I have to be able to tell the story.I have to be that character, because my job is to get the hell out of the way and let the character tell the story, musically and lyrically. When I'm standing in front of the microphone, I may look like me, but I'm not.If the character arrives with a really defined face and features, then it's easy for me to do my job.Fun version because almost always a first set closer and here it is opening the show. Love that. 236 times First: August 13, 1975 at Great American Music Hall, San Francisco, CA, USA Last: June 28, 1995 at The Palace of Auburn Hills The Palladium: The Palladium (originally called the Academy of Music) was a movie theatre, concert hall, and finally nightclub in New York City. It was located on the south side of East 14th Street, between Irving Place and Third Avenue.Designed by Thomas W. Lamb, it was built in 1927 across the street from the site of the original Academy of Music established by financier Moses H. Grinnell in 1852. Opened as a deluxe movie palace by movie mogul William Fox, the academy operated as a cinema through the early 1970s.Beginning in the 1960s, it was also utilized as a rock concert venue, particularly following the June 1971 closure of the Fillmore East. It was rechristened the Palladium on September 18, 1976, with the Band live radio broadcast,[1] and continued to serve as a concert hall into the following decade.In 1985, the Palladium was converted into a nightclub by Steve Rubell and Ian Schrager, after their success with Studio 54. Japanese architect Arata Isozaki redesigned the building's interior for the club.[2]Peter Gatien owned and operated the club from 1992 until 1997.The Palladium closed in August 1997 following its purchase by New York University.[3] In August 1998, the building was demolished in order to build a twelve-story residence hall that students affectionately referred to as Palladium HalThe Dead also played there when it was called the Academy of Music in a series of seven shows on their way to Europe for the '72 tour. One of the those shows, the entire March 28, 1972 performance plus selections from March 25, 1972 and March 27, 1972 were released as Dick's Picks Vol. 30This five night Palladium run, of which today's show was the second, is famous for a lot of reasons including the part of 1977 when the Dead put together a string of some of their best shows ever, peaking on May 8, 1977, just over one week later, at Barton Hall in Ithaca, NY. All five of these shows are well played, great tunes, and a very grooving feel that you can still pick up off of the CD or down load 47 years later. I had most of these shows on tape and wore them out from so much playing. Love that they previously released this show as Download Series Vol. 1 and the new Dave's Picks release, No. 50!!, is the May 3, 1977 show including some extra songs from the next night as well as the annual Dave's Picks Bonus Disc that is even more songs from the May 4th show). If you are not listening to Dave's Picks, you are missing out on quality recordings of some of the best shows ever.How hot was the band, check out this extended jam at the end of ½ Step, the second to last song of the first set (ending with a great Promised Land) and be sure to listen for Jerry and Keith going back and forth throughout this clip: SHOW No. 1: Mississippi ½ Step Track #11 7:06 – 9:29 Garcia/Huner tune released on Wake of the Flood in 1973. Also live versions included on Steal Your Face, Dick's Picks Vol. 1, Without a Net and who knows how many other Dick's/Dave's Picks releases, etc. If you want to hear it, you can find it, easily. First performed July 16, 1972 at Dillon Stadium in Hartford, Connecticut. Followed "Me and My Uncle" and led into "Sing Me Back Home," which closed out the first set. A staple of the repertoire ever since. 236 times (exact same as Music Never stopped!)First: July 16, 1972 at Dillon Stadium, Hartford, CT, USALast: July 6, 1995 at Riverport Amphitheater Maryland Heights, MO Music News: Neil Young Tour SHOW No. 2: St. Stephen Track #1 0:00 – 1:49 Blah Blah Blah, everyone knows about St. Stephen. Dead's Fluffhead apparently. Because of its true melodic nature and strong lyrics, it existed long outside and after the end of Primal Dead. Still only played a total of 187 times: First: May 24, 1968 at National Guard Armory, St. Louis, MO, USA Last: October 31, 1983 at Marin Veteran's Memorial Auditorium, San RafaelBut post Dead hiatus year, they started making song sandwiches often based around this song. This four song sandwich at the end of the show is so good that I had to feature all of it at the expense of some other really great tunes like Bertha, Peggy O, Looks Like Rain, Promised Land, and any tune in the second set. This sandwich is just too cool to ignore or not give it proper due. Here is the first layer change: SHOW No. 3: St. Stephen>Not Fade Away St. Stephen Track #19 4:10 – end INTO Not Fade Away Track #20 0:00 – 1:15 Great switch out of St. Stephen and into an amazing opening jam of NFA. I wanted to try and catch the opening lyrics but the jam went on for almost 4 minutes which is too long even for these extended clips. MJ News Check out this next transition that they pull off seamlessly: SHOW No. 4: Not Fade Away>Stella Blue Not Fade Away Track #20 14:15 – end INTO Stella Blue Track #21 0:00 – 1:30 Beautiful how they downshift on cue from the raucous NFA into the gentle and beautiful ballad mode required for Stella Blue. Jerry's voice is so strong and clear. Really a treat. Not even getting to the last tune of the encore today. Not enough time but had to close out the episode with the final sandwich transition, from Stella back into an immediate upbeat St. Stephen that is so strong I told Dan we could not edit out any of it! What a great (almost ending) to such a great show. Deadheads walked out knowing there were still 3 more to go! Like going to bed and already being told the next day is a snow day! Thank you all for listening. Please be sure to join us next week when I am joined by Rob Bleetstein of Grateful Dead Radio (show host), Pearl Jam radio and he is also the Curator for the New Riders of the Purple Sage. He is joining us to discuss, among other things, the newly released NRPS live album “Hempsteader”. If you haven't heard it yet, check it out. I'm looking forward to hearing from Rob how this was all put together and what the NRSP are up to these days. Also, a Birthday shoutout to very good buddy, Sam who is turning old tomorrow. At his age, the actual number doesn't matter but we love him anyway. ENCORE: Stella Blue>St Stephen Stella Blue Track #21 7:50 – end INTO St. Stephen Track #22 Start - end .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
The first two hours of this week's AM dip in and out of neo-classical, experimental jazz, and other instrumental sounds. Hour three shakes off the drowsiness for some dream-pop, shoegaze, and a Deftones cover for good measure. Hope the Daylight Savings didn't hit you too hard this morning, and enjoy the extra sunshine.Playlist: nubo, featuring Rebekah Reid - For Our HeartsMoshimoss - Unknown SoulsJoseph Shabason - AytcheSagor & Swing - Vals På VingarGODTET - Struck Bamboo PipesAkusmi - Oblique (Extended)Markus Floats - DeathBristol Manor - Personal GainsGidge - The Fellsgum.mp3, featuring 48thSt + Harrison - Mars and Its MoonsNalepa - It Ought to BeHana Stretton - Captain's FlatAwenda Provincial Park - quarrel, my loveShahzad Ismaily, Arooj Aftab, Vijay Iyer - SajniLabelle - L'homme félinHaiku Salut - Bleak and Beautiful (All Things)Haiku Salut - Foreign PollenBuildings & Food - Swimming in DentonErika Angell - Never Tried to RunBell Orchestre - Icicles / BicyclesPeter Belec, Jeff Roy - StardustL.A. Takedown - They Move and They Shine (Live at Great American Music Hall, San Francisco, CA, 3/30/23)wasmarkhere - I Am GoneWhitelands - Now Here's the WeatherNo Joy - Teenager - From HeavenPure X - EasyLa Luz - Strange WorldPick A Piper, featuring Mabe Fratti - PavesaExploded View - Gone TomorrowSleepkit - Memory Candle
Part of a new generation of bands formed over Zoom and FaceTime, Tarnish began in 2020 when guitarist/vocalist Karl Forster and bassist Dane Carlson started working on tracks despite living over 400 miles apart. The California-based group, now rounded out by drummer Jack Breger and guitarist Natty P, comes from a diverse musical background with influences all over the genre spectrum, but with a shared love for the 2010s pop punk/emo sound. With introspective lyrics and hard-hitting riffs, Tarnish has been working to craft a signature sound that stands out from the crowd.Recorded with Ben Hirschfield (The Story So Far, Mom Jeans., No Pressure), their most recent single, “Feeling The Same,” explores new territory for the band, experimenting with time signatures and song structure. Coming off the success of the poppier, yet similarly intense, “Cold Walks to the Liquor Store” in July, the juxtaposition between these singles showcases the band's range as they gear up for the release of their next EP. The band continues to build off their success in their respective Sacramento and San Diego local scenes, and has had the privilege of performing in venues such as the Great American Music Hall in San Francisco and the Observatory in Santa Ana. Actively seeking new ways to expand their audience, Tarnish is eager to grow as artists and performers, while still maintaining the sincerity of their work. Thanks for listening!!! Please Follow us on Instagram @hiddentracks99Pre and Post roll music brought to you by @sleepcyclespa
"I See You" Led by the Bay Area born Destani Wolf, Destani's Piece is a sonic healing project whose compositions are lush and layered affairs, boasting rich textures that conjure vast heavenly landscapes. Filled with dreamy musical nuances--like rolling angelic harps, harmonic pianos and Wolf's otherworldly vocals, the music of Destani's Piece is reflective and meditative and each composition serves as a balm for a world, that, let's face it, can be a bit raw. The Grammy-nominated Wolf has emerged as a brilliant sonic architect and this music is restorative, comforting and healing. As for Wolf, she's been in the game since she was 15 and found herself playing live at the Great American Music Hall in San Francisco. Since then, she's been packing her resume' with achievement after achievement. Her voice has been heard on over forty albums, and she's worked with everyone from John Cale to Bobby McFerrin to The Pharcyde. You've heard her on video games like Call of Duty, soundtracks like Disney's The Descendents, Kevin Hart's Laugh At My Pain and Fox's So You Think You Can Dance. She's traveled the globe singing for Cirque du Soleil, is a current member of Bobby McFerrin's MOTION and she collaborates and tours with the Bandaloop Aerial Dance Company. Keep in mind, this is just a partial list. But you get the idea. She's incredible. https://www.instagram.com/destanispiece www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com
On this episode of the California Now Podcast, host Soterios Johnson speaks with five-time Emmy-nominee Margaret Cho. A lifelong Californian, Cho shares how her upbringing in San Francisco helped shape her career in comedy. “I was seeing comedians like Robin Williams, Paula Poundstone, and Dana Carvey all the time, and it was a really incredible place to grow up within comedy,” Cho explains. Cho also discusses getting back on the road for her Live & LIVID stand-up tour, showcasing iconic venues like The Largo in Los Angeles and San Francisco's Great American Music Hall. “I'll do a show at the Comedy Store, and the other people on my bill are people like Sebastian Maniscalco, Tiffany Haddish, Arsenio Hall, Iliza Shlesinger,” Cho notes. “You'll see only heavy hitters because everybody comes to these clubs on a weeknight just to work out new material.” Cho also dives into her favorite offstage activities, including eating late-night Korean BBQ, attending cat shows, sampling omakase in San Francisco, and dining at Hollywood's historic Musso & Frank Grill. “All of the wooden booths contain all of the stories of the old movie stars,” she says. “You can really almost feel the history in the booths.”
"Reflecting on the Grateful Dead's Capitol Theatre Shows and Toby Keith smoking with Willie Nelson"Larry Michigan discusses the Grateful Dead's historic show at the Capitol Theatre on February 19, 1971. Larry reminisces about the atmosphere of the venue and the significance of the performance, highlighting the debut of several iconic Dead songs. The discussion delves into the band's evolving musical style, particularly the transition from psychedelic blues to Americana influences. He explores the historical context surrounding the show, including Mickey Hart's departure from the band and the impact of manager Lenny Hart's embezzlement. He also touches upon the significance of the show's release in the "From the Vault" series and discuss other notable releases in the Dead's catalog. Additionally, Larry provides updates on Bob Weir and Wolf Brothers' postponed performances with the National Symphony Orchestra and share news about upcoming music releases. Grateful DeadFebruary 19, 1971 (53 years ago)Capitol TheatrePort Chester, NYGrateful Dead Live at Capitol Theatre on 1971-02-19 : Free Borrow & Streaming : Internet Archive The second of the legendary six night run at the Capitol Theatre in late February, 1971:Feb. 18, 19, 20, 21, 23, and 24 INTRO: Loser Track #3 2:55 – 4:24 Hunter/Garcia tune that was released on “Garcia”, Jerry's first solo album, in January, 1972, the last song on side one of the album. It was a standard first set tune, part of a rotating number of Jerry first set ballads including Candyman, It Must Have Been The Roses, High Time, Row Jimmy, To Lay Me Down and others. A very sweet melodic tune that tells a great story by way of a beautiful piece of music. SECOND time playedPlayed a total of 353 timesFirst time: “Last”night 2.18.71Last: June 28, 1995, The Palace of Auburn Hills, outside Detroit THIS SHOW: Last year we covered the Feb. 18th show famous as the debut for Bertha, Greatest Story, Loser, Wharf Rat and Playin In The Band and the Beautiful Jam out of Wharf Rat and back into Dark Star. It was also Mickey's last show before his almost three year hiatus before he returned for the final 1974 show before the band's 1975 year off February 19th show is just as historical: The band's first show without Mickey since he joined the band in 1967. Many people theorize that this was Mickey's response to his father, Lenny Hart who was the band's manager stealing almost $155,000 of the band's assets before disappearing. Although he was eventually located by a private detective hired by the band and arrested in San Diego on July 26, 1971, convicted and spent six months in jail, the money was never returned. The song, “He's Gone” is based on Lenny Hart's embezzlement and disappearance. Ashamed by his father's actions, Mickey left the band after the 2.18.71 Capitol Theater show returning full time in 1975. Lenny died of natural causes on Feb. 2, 1975. According to Dennis McNally, "Mickey went to the funeral home, cleared the room, took out the snakewood sticks that had been his inheritance, played a traditional rudimental drum piece, "The Downfall of Paris" on Lenny's coffin, and split." Starting with this show, the band became a very lean mean fighting machine with just five members (Jerry, Bobby, Phil, Bill and Pig) until Keith jointed the band seven months later in September. On this night, the band played the five songs debuted the night before and debuted Deal and Birdsong. Pig also has a strong showing this night leading the band through four standouts: Hurts Me Too Smokestack Lightning: the third to last time it would be played with Pig in the band Easy Wind: the second to last time it would be played without Pig in the band Good Lovin This really marked the beginning of the band's hard shift away from psychedelic blues (Primal Dead) to the more Americana style music that began with Workingman's and American Beauty. Within a year, Pig would be very ill with just enough energy left for the Europe '72 tour. But this night, he was rocking the house like only he could do. Here is the first of his four featured songs: SHOW No. 1: Hurts Me Too Track # 5 2:08 – 3:42 Great showcase number for Pig featuring his singing and harp playing. We got just a bit of Jerry's lead but all this great music is too long to fit into one clip – don't want Dan getting mad at me! "It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]".[1] First recorded in 1940 by Tampa Red in Chicago, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many artists. Release on May 10th with Tired of Your Reckless Ways on the B-side. In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You".[9] It was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboard'sRhythm & Blues Records chart in 1949.[10] (The original "It Hurts Me Too" was released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics. Noted covers: Elmore James Junior Wells Grateful Dead – with Pig singing the vocals. Was first released by the Dead on Europe '72 album. After Pig left the band, the song was retired. The Dead played the song a total of 59 times First: May 19, 1966 at the Avalon Ballroom, San Francisco Last: May 24, 1972 at the Lyceum Ballroom in London (last show of Europe '72 tour “FROM THE VAULT”: This entire show was released by the Dead as “Three From The Vault” in 2007. The “From The Vault” series, launched by the Band in 1991 with One From The Vault – August 13, 1975 at The Great American Music Hall, with first live performance of the songs from Blues For Allah. In 1992 the Dead released “Two From The Vault” – August 23 and 24, 1968 at the Shrine Auditorium in Los Angeles. Then, along came Dick Latvala and his Dead scene changing Dick's Picks series which was wildly popular, so much so that the In The Vault Series was put on hold. For 15 years. Until 2007 when they circled back to the original series of live releasees with Three From The Vault which features the same show we are talking about today from the Capitol Theatre. That was it for In The Vault releases. The Dead did have several other “Vault” like releases – multi-track recordings including Hundred Year Haul, Dozin' At The Knick, Fallout From the Phil Zone, Terrapin Station, Live At the Fillmore East 2.11.69, Ladies and Gentlemen, the Grateful Dead, Nightfall of Diamonds, Trucking Up To Buffalo and so many more. They just stopped calling them “From The Vault”. Dick's Picks, of course would go on to have a total of 36 releases, the last few releases coming after Dick's death in 1999. Which led into the still wildly popular Dave's Picks from David Lemieux who took over for Dick and now has 49 releases and still going strong. And “short” lived, but generally popular “Roadtrips” series. And all of the box sets that are all amazing but too numerous to name except for the Complete Recordings, the four-night run at the Fillmore West from Feb. 27 to March 2, 1969 – four shows with the band at the peak of Primal Dead, and Europe '72 which consists of the live recordings for all of the shows on that tour. Another milestone for the Dead in terms of their ever expanding reputation for Jam Band, psychedelic, and amazing song catalogue, even at that “early” stage of the band's existence. SHOW No. 2: Playin In The Band Track # 7 2:23 – 4:05 By: Weir and Hunter "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan).The instrumental break of "Playing in the Band" was introduced as early as the February 19, 1969 "Celestial Synapse" show at the Fillmore West, in which it appears somewhat indistinct from the preceding and following jams.[5] The completed song was also included on Mickey Hart's 1972 solo album Rolling Thunder within "The Main Ten", making reference to the song's time signature of 10/4. "The Main Ten" appears on Dick's Picks Volume 16, from their performance at the Fillmore West on November 8, 1969. On that set, it appears in the middle of "Caution (Do Not Stop On Tracks)".During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it" It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire, usually as a second set pre-drums jumping off point for jams to who knows where. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with over 600 performances. If you download this show from Archive.org, and play this track, at the 3:20 mark during the mid-song jam, they get to the point where they would normally dive back in but instead, Bobby plays on for an almost additional 30 seconds and then just dives back in to the song. He is clearly still working it out. Over the course of the Europe '72 tour, it was played almost every night as Bobby finally worked it outThis is all really good stuff. SECOND time ever played 661 times (No. 1) First – “last: night's show, Feb. 18, 1971 Capitol Theatre Last: July 5, 1995 at Riverport Amphitheater, Maryland Heights, MO outside of St. Louis. SHOW No. 3: Greatest Story Ever Told (The Pump Song) Track #13 Start – 1:41 By Weir, Hart and Robert Hunter (some give credit to Rev. Gary Davis) Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972),[1] was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. Born in Laurens, South Carolina and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina in the 1930s, then converted to Christianity and became a minister. After moving to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked during the 1960s. Davis' most notable recordings include "Samson and Delilah"[2] and "Death Don't Have No Mercy" Released on:AceRolling Thunder, as "The Pump Song"Dead SetDick's Pick's, vol. 6Europe '72 box setLots of other releases Per Hunter: "Also known as "Pumpman" and "Moses"--I wrote this to the rhythm of the pump in Mickey Hart's well." Released on Ace on May 1, 1972 First song on the album with Bobby setting a rocking tone Another tune that was played almost every night of and refined during the Europe '72 tour 283 times First: “last night” 2.18.71 Last: June 27, 1995 at the Palace at Auburn Hills outside Detroit SHOW No. 4: Bird Song Track #15 :42 – 2:15 By Garcia and Hunter Second song on Garcia Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead A regular for the Dead, and still played by Dead and Co., Bobby and Phil and Friends. Beautiful song, even for the fist time you know it's going to be special. Played 301 tines First: This is it! Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA OUTRO: Deal Track #17 Start – 1:33 May 16, 2023 by Chris Huber of Chill One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel. Although it would move around a bit in the set list early on, this debut version is consistent with the ultimate tradition of the song closing out the first set. Even in JGB sets it was a first set closer. And would always leave you waiting through the break to see how they were going to kick off the second set and keep the show moving along. For a first time played, this version stays true to the version we all know and love from a few years later. Played 428 times First: This is IT Last: June 18, 1995, Giants Stadium in East Rutherford, NJ Thank you. .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
Backstage interviews during Grateful Guitars' Inaugural Benefit Concert at Great American Music Hall in San Francisco: Music director and show participant Alex Jordan talks about herding the group of talented musicians playing at the show; Zach Nugent (Zach Nugent's Dead Set) chats about his history of playing the famed guitars supplied by Grateful Guitars; Gary Lambert (Sirius Radio Tales From The Golden Road host) reflects on his Grateful Dead journey and the band's staying power; and keyboard player extraordinaire, Danny Eisenberg tells a memorable story about his first exposure to the music and Jerry Garcia's under appreciated voice. Also, a bonus interview with Johnny “Mojo” Flores (Achilles Wheel) moments after he played the famed “Alligator” guitar at Sweetwater Music Hall in Mill Valley, CA. All guests express their deep appreciation for Grateful Guitars Founder and President, Andy Logan!He's GoneInternet Archive.org: Grateful DeadGrateful Dead Live at Musikhalle on 1972-04-29https://archive.org/details/gd72-04-29.aud.vernon.5250.sbeok.shnf/gd72-04-29d2t04.shnUncle John's BandInternet Archive.org: KSANGrateful Dead 1970 Winterland SF KSAN 1970-10-04https://archive.org/details/grateful-dead-1970-winterland-sf-ksan/gd1970-10-04t14.mp3Ripple (2015 Remaster)Robert Hunter/Jerry GarciaYouTube Channel: The Grateful DeadProvided to YouTube by Grateful Dead/Rhinohttps://www.youtube.com/watch?v=5wh7ylJManIMagnificent Sanctuary BandSunshine Garcia Band - Days Between, Laytonville, CA August 7, 2022https://www.youtube.com/watch?v=x9TqJpz_YqIYouTube Channel: Ted Silverman AKA TedToobhttp://www.youtube.com/@TedToobSeasons of My HeartGeorge JonesSeasons of My Heart - Previously unreleased studio rehearsal from 1969https://docs.google.com/document/d/1ylxKwa691if_PVE90rwYwLI3ZJ13WnupFfBz5FS2gO4/editYouTube Channel: DaysBetweenhttp://www.youtube.com/@daysbetween6339Romance of The ViolinSongs My Mother Taught Me, Op. 55, No. 4 (Arr. for Violin and Orchestra)Joshua Bell · Michael Stern · Antonín Dvorák · Craig Ogden · Academy of St Martin in the Fieldshttps://www.youtube.com/watch?v=Xw0HqxWJvPkYouTube Channel: Joshua Bellhttp://www.youtube.com/@joshuabellmusicStella BlueRobert Hunter/Jerry Garcia“Stella Blue” - Oteil BurbridgeFrom the album “Lovely View of Heaven”https://www.youtube.com/watch?v=AOy5zVDoyR8YouTube Channel: Relixhttp://www.youtube.com/@RelixMagBilly's BagBilly PrestonProvided to YouTube by The state51 Conspiracyhttps://www.youtube.com/watch?v=IC77Qw9FIfMYouTube Channel: Billy Preston - Topichttp://www.youtube.com/channel/UCk0o3_qkXiJn8ZNiIoAOWmQWharf RatRobert Hunter/Jerry GarciaGrateful Dead - Live at Fillmore East, New York, NY, April 26, 1971https://www.youtube.com/watch?v=P6NDmh86RAYouTube Channel: Grateful Deadhttp://www.youtube.com/@gratefuldeadPeggy-OPEGGY O-GRATEFUL DEAD- 9/3/1977-Vocals and Guitar Isolatedhttps://www.youtube.com/watch?v=KmG3IzrPZOMYouTube Channel: Grungy Channelhttp://www.youtube.com/@GRUNZYLinkshttps://gratefulguitars.org/https://www.alexjordanjams.com/https://www.zachnugent.com/https://www.siriusxm.com/channels/grateful-dead-channelhttps://www.facebook.com/tftgr/: https://oteil.fanlink.to/stellabluehttps://www.facebook.com/danny.eisenberg.758https://www.facebook.com/p/G-Deloian-Band-100070913872268/https://www.motherhips.com/
More interviews from the green room at Great American Music Hall in San Francisco during Grateful Guitars' inaugural benefit concert with members of Dark Star Orchestra (DSO). Keyboard player, Rob Baracco details his his experiences playing piano and organ on original Grateful Dead gear; drummer Dino English gives a lesson on tone and shares detail on his amazing side projects; and bass player Skip Vangelas is effusive about his appreciation for a special gift bestowed on him that evening by Grateful Guitars. Plus, close friend of DSO and incomparable guitar player, Stu Allen, offers his take on playing the benefit and has some endearing moments with the hosts; and DSO original member, John Kadlecik imparts some words of wisdom about his musical collaborations and the meaning of playing Jerry Garcia's “Alligator” guitar. CreditsJohn Mclaughlin, Elvin Jones, Joey Defrancesco-Jazz a Juan, 1996.https://www.youtube.com/watch?v=FjPUrUI4_ekYouTube Channel: Pavel Levinhttp://www.youtube.com/@paulviolinoGrateful Dead Live at the Greek Theater, Berkeley, CA - 7/13/1984 Soundboardhttps://www.youtube.com/watch?v=P4uvsyfQSDc&t=5496sYouTube Channel: Chris From Jam Buzzhttp://www.youtube.com/@jambuzzCalifornia Kind - 8-19-23 Set 1 - Fairfax, CAKatie Skene, Barry Sless, Pete Sears, Rob Barraco, John Molohttps://www.youtube.com/watch?v=3uaGx_Q8kZ0YouTube Channel: The 11http://www.youtube.com/@The-11Alan Hertz killin ithttps://www.youtube.com/watch?v=DJDzW9lfwrUYouTube Channel: carl palileiohttp://www.youtube.com/@carlpalileo7972Hard Headed WomenFrom Shimmy Shack by Dino Englishhttps://shimmyshack.bandcamp.com/track/hard-headed-womencontinued…Grateful Dead 8-6-74 Eyes of the World: Roosevelt Stadiumhttps://www.youtube.com/watch?v=vzhqlsN2xRsYouTube Channel: Positively Garciahttp://www.youtube.com/@Catfishgarcia82MOUNTAIN - Mississippi Queen (Live on "The Show" 02-24-1970) - * RARE * remastered audiohttps://www.youtube.com/watch?v=Ss1EyyXL4GkYouTube Channel: Mountain MilSim - Private Suprohttp://www.youtube.com/@suprotwinRide Captain Ride•Skip Vangelas w Cosmic Jerry Band•Donovan's Reef•Sea Bright, NJ•06-20-2023https://www.youtube.com/watch?v=Fo2z5PQMTzgYouTube Channel: Hey Tom Banjohttp://www.youtube.com/@heytombanjo6195Stu Allen + Reflections - Money HoneyThe Junction, Mill Valley, CA 9/12/23https://www.youtube.com/watch?v=Ncg4BOT0i4IYouTube Channel: The 11http://www.youtube.com/@The-11"Cucamonga Carl" and More - Neighbor Live From Capitol Theatre | 01/13/23 | Relixhttps://www.youtube.com/watch?v=z-cSvLJI_18YouTube Channel: Relixhttp://www.youtube.com/@RelixMagI Feel Like Dynamite - Legion of Melvin at The Solano County Fairgrounds, Vallejo, CA - May 30, 2021https://www.youtube.com/watch?v=Ne_UtV7m47UYouTube Channel: Ted Silverman AKA TedToobhttp://www.youtube.com/@TedToobMountain Song HD (Furthur) - TRI Studios - 6/7/2011https://www.youtube.com/watch?v=vGmul2OXQNAYouTube Channel: pairdochttp://www.youtube.com/@pairdocFranklin's TowerThe Latin DeadProvided to YouTube by CDBabyYouTube Channel: The Latin Dead - Topichttp://www.youtube.com/channel/UCcTGAfcR2TQ9ip0515g25yALinkshttps://www.darkstarorchestra.net/https://www.instagram.com/californiakindmusic/https://www.katieskene.com/tourhttp://dinoenglish.net/Home.htmlhttps://shimmyshack.bandcamp.com/album/shimmy-shackhttps://wallofnews.love/season02-08/dso/https://cosmicjerryband.com/homehttps://www.lylebrewermusic.com/https://www.neighbortunes.com/https://www.johnkmusic.net/https://www.latindead.com/
"Grateful Dead's Night Amidst Ann Arbor's Championship Riot: A 1989 Michigan Celebration"Larry Mishkin reflects on his experience in 2024, discussing the success of the Michigan Wolverines in football and their celebration. He reminisces about the Michigan men's basketball team's 1989 championship and the Grateful Dead's subsequent concerts in Ann Arbor. The podcast features excerpts from the Grateful Dead's performances and shares anecdotes, including a story about Jerry Garcia and Bobby Weir getting stuck in an Ann Arbor celebration after a national championship win, highlighting the connection between the Grateful Dead and Michigan celebrations. The episode also pays tribute to a late friend and celebrates the recent success of the University of Michigan..Produced by PodConx Larry's Notes:Ann Arbor timeline for the first week of April, 1989:April 1, 1989 – Hash BashApril 3, 1989 – Michigan beats Seton Hall in Seattle to win NCAA Men's Division I Basketball TournamentApril 5, 1989 – Grateful Dead play in Crisler Arena, home of the champion basketball team (first show in Ann Arbor since 1979)April 6, 1989 – Grateful Dead play in Crisler Arena When Michigan won the football national championship last week by beating Washington in Houston, made me think there is a history here – M wins a Natty and we play/go see live the Grateful Dead. Can't break the chain now. Links:April 5, 1989: Grateful Dead Live at Crisler Arena on 1989-04-05 : Free Borrow & Streaming : Internet Archive For Intro, Show No. 1 and Show No. 2 April 6, 1989: Grateful Dead Live at Crisler Arena on 1989-04-06 : Free Borrow & Streaming : Internet Archive For Show No. 3, Show No. 4 and Outro INTRO: Feel Like A Stranger 4/5/89 Track #1 2:02 – 3:32 Album: Go To Heaven Total: 208 First: March 31, 1980 at Capitol Theatre, Passaic, NJ, USA Last: July 5, 1995, Riverport Amphitheatre, Maryland Heights (St. Louis), MO Love this version, late ‘80's, when Bobby sings, “Yes and it feels, most like runnin' a red light”, love that “most like” Also sings, “bout like running a red light”; “just like running a red light”; SHOW No. 1: Franklin's Tower 4/5/89 Track #2 3:24 – 4:38 Album: Blues For Allah Total: 222 First: June 17, 1975 at Winterland Arena, San Francisco, CA, USA, (next on Aug. 13th, Great American Music Hall, S.F. – One From The Vault) Last: June 22, 1995, Knickerbocker Arena, Albany, NY During the Help/Slip/Frank hiatus (until Oct at Hampton), Stranger>Franklin's a very common opener) SHOW No. 2: Not Fade Away 4/5/89 Track # 19 5:29 – 6:59 "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets. Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa. Jerry Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin played the double bass on this recording. It is likely that the backing vocalists were Holly, Allison, and Niki Sullivan, but this is not known for certain.[1]"Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time"Covered by: Rolling Stones (1964, their first big hit) The Rolling Stones' version of "Not Fade Away" was one of their first hits. Recorded in January 1964 and released by Decca Records on February 21, 1964, with "Little by Little" as the B-side, it was their first Top 10 hit in the United Kingdom, reaching number three.[5]London Records released the song in the US on March 6, 1964, as the band's first single there, with "I Wanna Be Your Man" as the B-side.[6] The single reached number 48 on the U.S. BillboardHot 100 singles chart. Rush Tanya Tucker John Scofield Florence and the Machine Dead No album (on 1971 Grateful Dead (band's second live album) Total: 560 First: February 19, 1969 at Fillmore West, San Francisco, CA, Last: July 5, 1995 Riverport Amphitheatre, Maryland Heights (St. Louis), MO SHOW No. 3: Althea 4/6/89 Track No. 6 3:47 – 5:20 Album: Go To Heaven Total: 272 First: August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USA Last: July 8, 1995 at Soldier Field, Chicago SHOW No. 4: Scarlet Begonias 4/6/89 Track No. 10 4:00 – 5:30 Album: From The Mars Hotel (June 27, 1974) Total: 317 First: March 23, 1974 at Cow Palace, Daly City, CA, USA Last: July 2, 1995, Deer Creek Music Theater, Noblesville (Indianapolis) IN Most often paired with Fire On The Mountain OUTRO: Brokedown Palace 4/6/89 Track No. 21 3:00 – 4:43 Album: American Beauty Total: 218 First: August 18, 1970 at Fillmore West, San Francisco, CA, USA Last: June 25, 1995 at RFK Stadium, Washington, D.C. .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
We will be joined by John Moran a photographer and a former Great American Music Hall photographer from 1974 to 1976.
"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..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 Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive INTRO: How Sweet It Is To Be Loved By You Track No. 2 0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!" Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener. There are three Dead shows on Nov. 13 and six JGB shows. Of those six, none are available on Archivd.org. So I am dong a JGB show two days later on Nov. 15, 1991 from MSG. The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1: Simple Twist of Fate Track No. 5 3:00 – 4:40 In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F. If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2: Lay Down Sally Track No. 6 1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart. It was released as a single with Cocaine on the B-side, quite the heavy hitting release. It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day: Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A: “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A: “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A: “It's very good, and very tight, but it's not really my bag.” SHOW #3: Deal Track No. 9 2:46 – 4:15 Finally, a Garcia tune! And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert. First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days. I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song. Almost always a first set closer. SHOW #4: Ain't No Bread In The Breadbox Track No. 14 1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune. Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021. OUTRO: What A Wonderful World Track No. 19 1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria. A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry. Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL 60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law
Es uno de los pocos artistas que han conseguido un Top 10 en tres décadas distintas. Ha vendido más de 100 millones de álbums y ahora nos presenta un nuevo álbum en vivo. El es Billy Joel y este fin de semana escuchamos una selección de canciones de los álbum: Live at Shea Stadium, 12 Gardens Live y su nuevo álbum Live at The Great American Music Hall.
Es uno de los pocos artistas que han conseguido un Top 10 en tres décadas distintas. Ha vendido más de 100 millones de álbums y ahora nos presenta un nuevo álbum en vivo. El es Billy Joel y este fin de semana escuchamos una selección de canciones de los álbum: Live at Shea Stadium, 12 Gardens Live y su nuevo álbum Live at The Great American Music Hall.
In episode 48 of Hooked on Creek, Korre Johnson talks with Peter Hurley about what it was like seeing Max Creek in the late 1970s and early 1980s. Peter also talks about seeing the band perform at venues like Mad Murphy's and the Shaboo Inn during that time period, as well as his experiences attending the first three Camp Creeks. This episode also features the following live performances by Max Creek:Fire & Brimstone performed December 31, 1981, at Cell Block Eleven in Hartford, Connecticut:https://archive.org/details/MC1981-12-31.MC1981-12-31JohnLombardiMaster/06FireBrimstone.flacHigh Flying Bird performed November 25, 1978, at Mad Murphy's in Hartford, Connecticut:https://archive.org/details/mc1978-11-25.flac16/mc1978-11-25d1t02.flacRainbow performed January 7, 1982, at the Great American Music Hall in New Haven, Connecticut:https://archive.org/details/MC1982-01-07.MaxCreekTheClosingOfGreatAmericanMusicHallJohnLombardiMaster/14Rainbow.flacEmerald Eyes performed December 17, 2022, at The Met in Pawtucket, Rhode Island:https://archive.org/details/mc2022-12-17.-KM140-SBD/20221217_MC_KM140_S2-06.flacDevil's Heart into The Field into Signature performed July 27, 1978, at the Shaboo Inn in Willimantic, Connecticut:https://archive.org/details/mc1978-07-27.flac16/mc1978-07-27d1t03.flacRead a transcript of this episode on the Hooked on Creek website:https://hookedoncreek.com/2023/07/episode-48-peter-hurley-talks-about-max-creek/If you have feedback or suggestions for future episodes, send a message via the contact link on the Hooked on Creek website:https://hookedoncreek.com
After the death of his mother, Ned Buskirk wondered why we don't talk about death more. As a producer and artist, he found a way to invite the conversation when he hosted a small event in his home, called You're Going to Die: Poetry, Prose and Anything Goes. It was a hit, and led to larger and larger monthly events, a musician's program to work with people at the end of life, and finally, the largest event ever at the Great American Music Hall; You're Alive. He has established a non profit to support all these projects and bring the conversation to a larger and larger audience. He has also integrated the arts into the conversation, broadening his audience and inspiring in the meantime. What does he have in his vision for the future? Join us to find out.
After the death of his mother, Ned Buskirk wondered why we don't talk about death more. As a producer and artist, he found a way to invite the conversation when he hosted a small event in his home, called You're Going to Die: Poetry, Prose and Anything Goes. It was a hit, and led to larger and larger monthly events, a musician's program to work with people at the end of life, and finally, the largest event ever at the Great American Music Hall; You're Alive. He has established a non profit to support all these projects and bring the conversation to a larger and larger audience. He has also integrated the arts into the conversation, broadening his audience and inspiring in the meantime. What does he have in his vision for the future? Join us to find out.
After the death of his mother, Ned Buskirk wondered why we don't talk about death more. As a producer and artist, he found a way to invite the conversation when he hosted a small event in his home, called You're Going to Die: Poetry, Prose and Anything Goes. It was a hit, and led to larger and larger monthly events, a musician's program to work with people at the end of life, and finally, the largest event ever at the Great American Music Hall; You're Alive. He has established a non profit to support all these projects and bring the conversation to a larger and larger audience. He has also integrated the arts into the conversation, broadening his audience and inspiring in the meantime. What does he have in his vision for the future? Join us to find out.
In this episode, Mike and Jeremy deep dive into Billy Joel''s recent Record Store Day release "Live at the Great American Music Hall 1975.
In late 2021, a hidden gem in Billy Joel's history was released as part of a nine-record Box Set The Vinyl Collection Volume One. The two-LP Live at The Great American Music Hall was recorded in 1975 over several nights in San Francisco. It captured the band in transition before Billy kicked off recording sessions for Turnstiles. Now, fans can snag a standalone copy on limited-edition, opaque gray-colored vinyl — if they can find it. The album will be available as part of Record Store Day on April 22, 2023. Limited to 6,700 copies, it's for sale only at participating independent stores nationwide. But, not all stores will have it in stock. In this episode, we'll cover everything about Record Store Day and how to increase your chances of getting a copy without paying more later. Then, we'll do a track-by-track commentary. Finally, we'll explore the recording's history and significance with Billy's archivist, John Jackson. Join us as we dig deep into the Record Store Day release of Billy Joel: Live at The Great American Music Hall - 1975. ------ Email us: glasshousespodcast@gmail.com Glass Houses - A Billy Joel Podcast on the web / social media: Website: http://www.glasshousespod.com Facebook: https://www.facebook.com/glasshousespodcast/ Instagram: https://www.instagram.com/glasshousespod/ Twitter: https://twitter.com/glasshousespod Discord: https://discord.gg/6G6cMRFu7T Support the podcast: Paypal: https://paypal.me/glasshousespod Venmo: @MGrosvenor Produced by Michael Grosvenor & Jack Firneno for Groove Music Marketing
San Francisco is filled with excellent music venues, from historic spots including the Great American Music Hall and SF Masonic to the brand new Chase Center. Dublin poet Laureate James Morehouse joins hosts Peter Hartlaub and Heather Knight to draft their nine favorite music venues in San Francisco, and tell stories about some of their favorite concerts in the city. Morehead wrote the upcoming book "At the Barricade," celebrating San Francisco's music venues through his poetry and photography. Produced by Peter Hartlaub. Music from the Sunset Shipwrecks off their album "Community," Castro Theatre organist David Hegarty and cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf Learn more about your ad choices. Visit megaphone.fm/adchoices
The San Fransisco Bay area was very influential on the music scene in the late '60s and early '70s. In this episode, I am talking with Lee Brenkman, who has spent over 50 years working in many of the iconic venues there like the Avalon Ballroom, Family Dog on the Great Highway, and the Great American Music Hall. A very influential person in live sound history is Bob Cohen. He was the co-owner, co-manager, and sound engineer for the Family Dog, the San Francisco concert promoter that ran neck-and-neck with Bill Graham.Cohen went on to start his own sound company called Lumiere Productions. He invented the modern-day intercom system and founded the company Clear-Com with Charlie Butten. Lee Brenkman was there in the shop as Bob and Charlie were drawing the schematics out on butcher paper.For the last 47 years, Lee has worked at the Great American Music Hall as the house sound tech and later becoming the sound department head. We spent a fair amount of time talking about the progression of gear through the years there, along with some memorable shows like Duke Ellington's last San Fransisco performances, Robin Williams HBO Special, and more. ----------------- Jimmy Hendrix Show for Family Dog in Denver Colorado, Feb 14, 1968 Lee discusses this the show and how he provided support speakers in the episode. you can listen to a recording of the show. ------------------ Check out www.howwegotloud.com for more details and other episodes
Hoy es el último Vinilos para Gatos de este año razón por la cual nos ha apetecido mucho acercarnos un disco que consideramos muy especial. Y decimos que es especial porqué consigue unir la música de los de los más grandes artistas del jazz de todos los tiempos. El nombre del trabajo lo dice todo: Carmen Sings Monk, es decir, la vocalista, pianista y compositora Carmen McRea interpretando brillantes versiones de temas del genio Thelonius Monk, algunos de ellos tan conocidos como Round Midnight, Straight no Chaser o We’ll You Needn’t se combinan con composiciones que no han tenido tanta difusión pero que son igualmente hermosas, como la maravillosa Ruby, my Dear o Ugly Beauty. Un larga duración impresionante que va a ser nuestro ilustre invitado en el programa de hoy. TRACKS: Todos los temas originalmente compuestos por Thelonius Monk. Entre paréntesis os ofrecemos primero el titulo original del tema y a continuación el nombre del/la letrista. 1-"Get It Straight" ("Straight, No Chaser") (Sally Swisher) – 3:58 2-"Dear Ruby" ("Ruby, My Dear") (Swisher) – 6:01 3-"It's Over Now" ("Well, You Needn't") (Mike Ferro) – 5:28 4-"Monkery's the Blues" ("Blue Monk") (Abbey Lincoln) – 4:56 5-"You Know Who" ("I Mean You") (Coleman Hawkins, Jon Hendricks) – 3:31 6-"Little Butterfly" ("Pannonica") (Hendricks) – 5:15 7-"Listen to Monk" ("Rhythm-a-Ning") (Hendricks) – 3:05 8-"How I Wish" ("Ask Me Now") (Hendricks) – 4:56 9-"Man, That Was a Dream" ("Monk's Dream") (Hendricks) – 2:55 10-"'Round Midnight" (Monk, Cootie Williams, Bernie Hanighen) – 6:32 11-"Still We Dream" ("Ugly Beauty") (Ferro) – 3:27 12-"Suddenly" ("In Walked Bud") (Hendricks) – 3:41 13-"Looking Back" ("Reflections") (Hendricks) – 5:35 Tracks en el CD original pero que no aparecían en el LP (por cuestiones relativas a la duración del formato) 14-"Suddenly" – 3:13 15-"Get It Straight" – 3:26 Versiones añadidas en la reedición del disco del año 2001. "'Round Midnight" (Alternate Version) – 7:11 "Listen to Monk" (Alternate Take) – 2:59 "Man, That Was a Dream" (Alternate Take) – 3:23 CREDITS Carmen McRae - vocals Clifford Jordan - soprano saxophone, tenor saxophone Eric Gunnison - piano George Mraz - double bass Al Foster - drums Live at Great American Music Hall on January 30 & February 1, 1988 (tracks 1 & 12) Charlie Rouse - tenor saxophone Larry Willis - piano George Mraz - double bass Al Foster - drums
Insights In Sound - Lee Brenkman, Live Sound Engineer - Season 10, Episode 6 (#96) From his early days at San Francisco's Family Dog Ballroom through his decades with the Great American Music Hall and the California Jazz Conservatory, Lee Brenkman has racked up more than half a century of audio wisdom, and maybe a few good stories along the way.
Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Journey es una banda de rock creada en 1973 en San Francisco, Estados Unidos, por el teclista Gregg Rolie y el guitarrista Neal Schon, integrantes originales de Santana. De estilo rock progresivo en sus inicios, fue cambiando a un estilo más melódico con la incorporación del vocalista Steve Perry en 1978, quien con su voz convirtió a la banda en una de las más destacadas de los años 1980, con ventas de más de 75 millones de discos en todo el mundo convirtiéndolos en uno de los artistas más exitosos de todos los tiempos Journey alcanzó la cima del éxito en 1981 con el álbum Escape, que contenía canciones como «Open Arms», «Who's Crying Now» y «Don't Stop Believin'». Durante ese período, la banda lanzó una serie de canciones de éxito, incluyendo «Don't Stop Believin'» de 1981, el más vendido en la historia de iTunes Las raíces de Journey se encuentran en San Francisco, donde en 1971 el representante de Carlos Santana, Walter Herbie Herbert, decidió organizar una banda de músicos, originalmente llamada The Golden Gate Rhythm Section. Insatisfecho con la dirección musical que buscaba Santana, el teclista/vocalista Gregg Rolie y el guitarrista Neal Schon dejaron la banda en 1972. Prairie Prince de The Tubes, el bajista Ross Valory de Frumious Bandersnatch, y el guitarrista rítmico George Tickner fueron añadidos al nuevo proyecto. Tras un infructuoso concurso radial que buscaba un nombre para el grupo, Jack Villanueva sugirió el nombre "Journey.". La primera aparición pública del grupo fue en Winterland en la víspera de año nuevo en 1973. Al día siguiente volaron a Hawái a tocar en el Crater Festival. A comienzos de 1973, Prairie Prince se reunió con su antiguo grupo, The Tubes, así que Herbert trajo a Aynsley Dunbar, un baterista que había tocado con John Lennon, Frank Zappa, John Mayall, Jeff Beck, Bonzo Dog Band, Mothers of Invention, Lou Reed, y David Bowie. El 5 de febrero de 1974, la nueva conformación del grupo debutó en el Great American Music Hall, asegurando un contrato con Columbia Records. Journey lanzó su álbum homónimo en 1975. Ese mismo año Journey invitó a Albert King a uno de sus conciertos. El disco mostraba el considerable talento de la banda para la música jazz-fusión y el rock progresivo. El guitarrista rítmico Tickner dejó la banda poco antes de la grabación del segundo álbum del grupo, Look into the Future (1976), el cual le bajó el tono al sonido progresivo del primer disco, pero retuvo su base de jazz-fusión. El siguiente disco, Next, intentó reducir la duración de sus canciones para apelar a una mayor audiencia, e incluyó a Neal Schon cantando varias de las canciones, pero aun así, el éxito comercial seguía eludiéndoles. Con las ventas mediocres de Next el grupo fue presionado por el estudio para cambiar de dirección y buscar un nuevo cantante. Como resultado, Journey trajo a Robert Fleischman. Nativo del sur de California, Fleischman había estado tocando con un grupo de Chicago cuando su representante, Barry Fey, lo trajo a Denver en 1977 para una entrevista con ejecutivos de un estudio. "Estaba nevando mucho y no sabíamos si los ejecutivos iban a lograr llegar a la reunión, pero luego aparecieron muchas personas de la Costa Oeste y de la Costa Este" recuerda Fleischman. Él fue "descubierto" por un ejecutivo de la CBS en dicha reunión, y un par de semanas después, fue enviado a San Francisco para una audición con Journey. A Fleischman le fue notificado que la banda buscaba un estilo más popular, similar al de Foreigner o Boston, por lo que Fleischman supo que su vocalización inspirada por Robert Plant de Led Zeppelin sería un extra. Sin embargo, la potencia de la banda a la que él se intentaba unir, lo impresionó. En su primera sesión de estudio juntos, Fleishman señala, "Era como... tener fuegos artificiales en la bolsa de atrás. Ellos llevaban tanto tiempo tocando juntos, y lo hacían tan bien, que era grandioso tocar con gente así". Dichas sesiones produjeron el tema "For You," que luego aparecería en Time, y "Wheel in the Sky," que luego fue re-editada sin Fleischman para el disco Infinity. Fleischman salió de gira con la banda a inicios del año siguiente, pero su lugar en el grupo tenía las horas contadas. Mantuvo a su propio representante, Barry Fey, lo cual demostró ser una constante confrontación con el representante de Journey, Herbie Herbert. Adicionalmente, Herbert parecía no estar dispuesto a dejar que la nueva dirección de la banda saliera a relucir de inmediato, lo cual terminó en situaciones como que Fleischman tenía que agitar una pandereta mientras el resto del grupo seguía tocando sus canciones antiguas para su grupo de seguidores jazz-fusión. Fleischman también chocó con otros miembros del grupo debido a que, aparentemente, no era un escritor de canciones muy productivo. El representante Herbie Herbert había oído mencionar al cantante Steve Perry, quien había pasado recientemente por la ruptura de su grupo Alien Project. Tras oír una demo de Perry (que Jack Villanueva le había hecho llegar), Herbie supo que había que hacer un cambio. Tras un interesante entretiempo durante el que Perry fue presentado a la banda (se le dijo a Fleischman que Perry era el primo portugués de Villanueva), Fleischman fue despedido. Perry hizo su debut público con Journey en el Old Waldorf en San Francisco, el 28 de octubre de 1977. Perry conoció a Schon, y la pareja rápidamente escribió su primera canción, "Patiently", que aparecería en el disco Infinity de 1978. Perry aportó su voz de contratenor, limpia y poderosa, a canciones como "Lights," "Wheel in the Sky," y "Anytime." Además, el productor de Queen, Roy Thomas Baker (originalmente traído por Fleischman) ayudó a darle más capas al sonido de la banda. Los cambios funcionaron, y Journey saltó al estrellato. Infinity llegó al puesto Nº 21 en ventas de discos y le dio a Journey su primer disco de platino. Sin embargo, no todos los miembros del grupo estaban felices con la nueva dirección musical. En septiembre de 1978, el baterista Aynsley Dunbar fue despedido y reemplazado por Steve Smith, quien había estudiado jazz en la prestigiosa escuela Berklee en Boston, Massachusetts. El siguiente álbum de la banda, Evolution produjo el primer sencillo Top 20 de Journey, "Lovin', Touchin', Squeezin.'" El álbum Departure (1980) extendió el ascenso del grupo, llegando al n.º 8 en ventas de discos. «Any Way You Want It» fue un éxito Top 25 con amplia difusión en la radio. Luego, Journey fue a Japón a grabar la banda sonora de la película Dream After Dream, a petición del director de dicho filme. En este punto, los conciertos en vivo eran llenados por fanáticos que favorecían la nueva dirección musical del grupo, con algunos celebrando a Perry como alguna vez se hizo con Elvis Presley (sin embargo, el grupo tocaba sus viejas canciones durante los descansos de Perry tras bambalinas). Journey estaba destinado al éxito en gran escala, y a inicios de 1981 lanzó un disco en vivo llamado Captured, grabado durante los conciertos de la gira Departure en 1980. Las primeras 5 canciones del disco fueron del concierto del 8 de agosto en el Fórum de Montreal (Quebec). Otras 2 fueron de conciertos en Tokio y el resto del Cobo Hall en Detroit. Exhausto de tanto salir de gira, Rolie dejó el grupo, siendo esta la segunda vez que abandonaba una banda exitosa en su carrera. Recomendó a Jonathan Cain de The Babys para que lo reemplazara. Como si pudiera predecir el ambiente musical de los 1980s, Cain favoreció el uso del sintetizador por encima del órgano Hammond de Rolie. El grupo sabía que se les estaba uniendo un gran teclista, pero ignoraban lo poderoso de las habilidades de Cain para escribir canciones. En 1981, el séptimo disco de estudio de Journey, Escape llegó al n.º 1 de las listas, y finalmente se convirtió en su disco más vendido y popular, siendo 9 veces disco de platino. Los sencillos «Who's Crying Now», «Don't Stop Believin'» y «Open Arms» llegaron al Top 10. El trabajado sonido de la banda, encabezada por el distintivo sonido (y pronto, ampliamente imitado) de Steve Perry, se convirtió en una presencia popular en la radio. El canal MTV grabó uno de sus dos conciertos a sala llena en Houston, Texas, el 6 de noviembre de 1981 en frente de más de 20.000 aficionados. En particular, «Don't Stop Believin'» mostraba lo bien logrado del rango de contratenor de Perry en conjunto con el piano de Cain y la dinámica guitarra de Schon. «Open Arms», que estuvo 6 semanas en el n.º 2 en las listas de popularidad, ayudaron a establecer a Journey como el estándar del rock de los años ochenta. Tal éxito le valió poco a Journey con los críticos de música. La Rolling Stone Record Guide de 1983 le dio a cada uno de sus discos solo una estrella, y el crítico Dave Marsh escribió que «Journey era un callejón sin salida para el rock de San Francisco... excesiva trivialidad... banalidad... una explotación de un acto cínico». Marsh luego añadió Escape como uno de los peores discos en llegar al n.º 1 en la historia. Con justicia o no, los críticos a menudo categorizaban a Journey con otros actos de rock corporativo como Foreigner, Asia y Survivor. Journey también fue uno de los primeros grupos en ser patrocinado por una empresa grande, Budweiser, al cual mencionaban en las portadas de sus discos. Esto contribuyó a su imagen negativa de rock corporativo, o más precisamente, rock patrocinado por empresas. El representante Herbie Herbert, sin embargo, comentó al respecto que «se debe sembrar mientras dure la primavera»[11] La banda claramente había cortado con sus raíces hippies de Haight-Ashbury. En 1982, la banda aportó la canción «Only Solutions» a la película Tron de Disney. Casualmente, ese mismo año Journey se volvió el primer grupo en inspirar un videojuego: el arcade Journey por Bally/Midway, y Journey Escape de Data Age, para el Atari 2600. El próximo disco de Journey, Frontiers (1983), continuó su éxito comercial. Llegó al n.º 2 de ventas, y produjo 4 sencillos exitosos, de los cuales «Faithfully» y «Separate Ways» llegaron a n.º 12 y 8, respectivamente. La presencia de Cain continuó siendo fuerte en este disco, tanto por ser cantautor (él solo escribió «Faithfully») como por su uso de sintetizadores. Había llegado la era de MTV, y la popularidad de Journey se incrementó por un vídeo musical de corte documental acerca de «Faithfully», que mostraba a varios miembros del grupo con sus familias de gira, y que ayudó a que la canción se ganara un lugar, junto con «Turn the Page» de Bob Seger y «The Load's Out» de Jackson Browne, como una canción favorita para conciertos. Las escenas del documental fueron rodadas en Estadio JFK en Filadelfia, Pensilvania, con más de 80.000 aficionados presentes. Poco tiempo después, la banda recibió una petición de un joven moribundo de 16 años llamado Kenny Sykaluk, quien luchaba contra la fibrosis quística. Kenny quería conocer a la banda. Journey honró el deseo de Kenny, y no sólo lo visitaron en su cama, sino que le obsequiaron un walkman con su último sencillo, «Only the Young». Kenny murió en menos de un día después. En el episodio de Behind the Music de Journey, Jonathan Cain lloró al recordar la visita a Kenny, mientras que Neal Schon dijo que dicha visita «cambió mi forma de ver la vida». El cantante Steve Perry recibió mucho del crédito por el éxito de Journey. En 1984, lanzó un disco como solista, Street Talk, el cual tuvo éxito y lanzó un sencillo popular, cuyo vídeo fue emitido en MTV, llamado «Oh Sherrie». Perry también grabó Don't Fight It (1982), con Kenny Loggins. El guitarrista Neal Schon produjo dos discos con Jan Hammer en 1981 y 1983, y en 1985 fue parte del proyecto Hagar Schon Aaronson Shrieve (junto a Sammy Hagar, Kenny Aaronson y Michael Shrieve). Tras el lanzamiento de su disco en solitario, Perry tomó el control de la dirección musical en estudio de la banda. Para decepción del representante Herbie Herbert, el bajista Ross Valory y el baterista Steve Smith fueron despedidos de la banda por diferencias musicales y profesionales, y en 1986 Journey lanzó su álbum Raised on Radio como un trío Perry, Schon, y Cain. Varios músicos de estudio llenaron las dos vacantes, entre ellos el ahora jurado de American Idol, Randy Jackson y el establecido músico de estudio Larrie Londin. La producción se detuvo constantemente, debido a la decadente salud de la madre de Perry, Mary Pereira. Al final, el álbum vendió dos millones de copias. Una truncada gira le siguió, presentando a Jackson en el bajo y a Mike Baird en la batería. Luego, Perry, exhausto de tantas giras, sufriendo por la reciente muerte de su madre (con quien tuvo una relación muy cercana) y el colapso de su relación de 6 años con Sherrie Swafford, dejó Journey en 1987, terminando el recorrido de la banda en la cima. A pesar de trabajar en un proyecto en solitario en 1989 titulado Against The Wall, el cual finalmente fue desechado, Steve Perry abandonó la industria musical por varios años antes de grabar «For the Love of Strange Medicine» en 1994 y lanzar un compilado de grandes éxitos en 1998. Neal Schon y Jonathan Cain hicieron equipo con los ex-Babys (la antigua banda de Cain), John Waite y Ricky Phillips, formando Bad English con el baterista Deen Castronovo en 1988. Además, cada uno grabó discos en solitario. Luego, Schon y Castronovo se unieron al grupo del cuñado de Schon, Hardline. Steve Smith se metió de lleno en su proyecto de jazz, Vital Information, el cual eventualmente llegó a desarrollar un grupo de fanáticos de tamaño respetable. En 1991, Ross Valory, Steve Smith, y Greg Rolie se unieron a The Storm con el cantante Kevin Chalfant y el guitarrista Josh Ramos. De 1987 a 1995, Journey observó cómo crecía la venta de sus discos. Lanzaron tres recopilatorios, los cuales lograron excelentes ventas. En 1993, Kevin Chalfant (de The Storm) tocó con los miembros de Journey en algunos conciertos, y Schon, Cain, Valory, Smith y Rolie consideraron brevemente una reunión bajo el nombre de Journey con Chalfant como cantante, pero al final tal proyecto no fructificó. Ese año, Steve Perry propuso volver a la banda bajo la condición de que se cambiara de representante. Herbie Herbert fue despedido y se eligió a Irving Azoff, y en 1995 Perry volvió una vez más a Journey. En 1995, la formación que tenía Journey en 1981 volvió a juntarse. Perry, Schon, Smith, Cain, y Valory volvieron al estudio y produjeron el famoso disco Trial by Fire en 1996, que incluye los éxitos «When You Love a Woman» y «Message of Love», nominado a un Grammy. Tras el éxito de Trial by Fire, los miembros de Journey se prepararon para una gira prometedora. La sensación causada en los medios y la emoción alrededor de volver a ver a la banda de gira fueron intensas, pero todo esto llegó a un abrupto final cuando Perry se lastimó la cadera en una caminata en Háwai. Perry probablemente iba a necesitar un reemplazo de cadera. A pesar de esto, le fue difícil tomar una decisión respecto a su estado de salud (pues le era imposible presentarse en el escenario sin someterse a dicha cirugía), pero en 1998 la banda lo presionó para que tomara una decisión. Cuando Perry rehusó a operarse, Cain y Schon decidieron continuar la banda sin él. El baterista Steve Smith decidió dejar la banda en esa misma época, para volver a Vital Information. En febrero de 2001, la banda participó en un episodio de Behind the Music en VH1, pero algunos comentarios hechos durante la grabación del programa contribuyeron a calentar los ánimos entre Perry y el resto de la banda. Ese mismo año, Herbie Herbert ofreció una entrevista en la que él daba su propia opinión acerca de la historia del grupo.[12] Luego, en 2003, Robert Fleischman comentó su propia participación en el grupo.[13] En 1998 Journey se vio buscando baterista y cantante. La plaza de baterista fue llenada por Deen Castronovo, compañero de Schon y Cain en Bad English, y que entonces tocaba con Hardline. El nuevo cantante fue Steve Augeri, anteriormente de Tyketto y Tall Stories. Augeri había abandonado el negocio de la música y trabajaba como gerente en una tienda de The Gap en Nueva York. Augeri recibió una llamada telefónica de Schon, quien había escuchado su demo. Schon lo invitó a audicionar para la banda y, a pesar de no haber cantado mucho en tiempos recientes, impresionó a los miembros de Journey lo suficiente como para obtener el trabajo. El parecido de Augeri con Perry, tanto visual, vocal, y hasta en su nombre, causó cierto revuelo entre los fanáticos más antiguos, ayudado por la popularidad de internet y sus foros. Algunos fanes rechazaron a un Journey sin Steve Perry. Otros se volvieron verdaderos fanes de Steve Augeri, culpando a Perry por la decaída popularidad de la banda. Pero la mayoría de los fanáticos dudaron del cambio y (tras oírlo en vivo o en disco) aceptaron a Steve Augeri. Además de su talento, esto tenía mucho que ver con la personalidad del nuevo cantante: era extremadamente amable y simpático con cada nuevo fanático que conocía. La nueva formación de Journey rápidamente volvió a trabajar, grabando una canción para la película Armageddon llamada «Remember Me». En 2001, lanzaron su siguiente disco de estudio, Arrival. El disco originalmente fue publicado en Japón a finales de 2000, pero debido a que algunas de las canciones del disco se filtraron y terminaron en internet con comentarios mayormente negativos de los fanes por su sonido de balada, Journey decidió demorar un poco el lanzamiento de dicho disco en Estados Unidos y añadir dos canciones más pesadas para la versión estadounidense. «All the Way», de dicho disco, se convirtió en un éxito menor. En 2003, la banda lanzó un CD con cuatro canciones titulado Red 13, cuyo diseño de portada fue escogido en un concurso de fanes. En 2005, la banda se embarcó en su gira de 30 aniversario, regalando copias promocionales de su último lanzamiento de estudio, Generations para ganadores seleccionados en cada concierto. Tales conciertos, que duraban tres horas, eran divididos en dos partes: la primera con material de la época de su mayor fama (algunas de esas canciones, tocadas en vivo por primera vez en décadas), mientras que la segunda parte comprendía Escape y otros. La reputación de Journey ante la crítica no mejoró al cabo del tiempo: la edición de 2004 del Rolling Stone Album Guide llama a Journey el «acto de karaoke perfecto», y no le da más de dos estrellas y media (de cinco posibles) a ninguno de sus discos. Varias bandas tributo de Journey se han formado por todo Estados Unidos, con distintos grados de éxito (usualmente en escala local), y el cantante Kevin Chalfant de The Storm ocasionalmente se juntaba con The Gregg Rolie Band para tocar algunos éxitos de Journey de la época 1978-1980. Aunque ha sido criticado como un grupo de orden corporativo, Journey ha retenido una masa de fanes fiel a lo largo de su carrera; su música aparece en programas de TV y películas. La radio a menudo toca sus éxitos, exponiendo su música a nuevas generaciones de oyentes. Journey ganó nuevas atenciones en la década del 2000, debido a que Randy Jackson, tras su participación con Journey, se convirtió en un ejecutivo musical muy exitoso, y luego en juez de American Idol. Vídeos de Jackson con la banda se han mostrado en el programa, y varios de los participantes han intentado cantar canciones de Journey. Los más recordados han sido Clay Aiken cantando «Open Arms» en una semifinal (y luego a dúo con Kelly Clarkson en una gira de conciertos), y Elliott Yamin, también con dicha canción, en la semifinal de 2006. Judy Torres lanzó una versión del sencillo «Faithfully» en 2005. La canción «Don't Stop Believin'» se convirtió en un himno de batalla de la Serie Mundial de 2004, donde los campeones Medias Rojas de Boston ganaron la serie tras ir abajo 3 juegos a 0 contra los Yankees en la serie de división de la Liga Americana y también en 2005, donde en el desfile de la victoria de los Chicago White Sox, Steve Perry fue invitado para que cantara con miembros del equipo. El 6 de febrero de 2005 «Don't Stop Believin'» salió en un anuncio de FedEx, en el que salía Burt Reynolds y que fue programado durante el Super Bowl XXXIX. En diciembre de 2005, «Don't Stop Believin'» llegó al n.º 13 en la lista Hot Digital Songs, y fue nominada para dos categorías en unos premios de VH1. En julio de 2007, la canción apareció en la escena final de la serie de HBO The Sopranos. Petra Haden lanzó un cover de la canción en septiembre de 2007. En 2003, Journey fue admitido al Salón de la Fama de la Música de San Francisco. A la ceremonia asistieron Gregg Rolie, Jonathan Cain, Steve Smith, Ross Valory, Neal Schon, Aynsley Dunbar, Deen Castronovo, y Steve Augeri. Dos años más tarde, el 21 de enero de 2005, Journey recibió una estrella en el Paseo de la Fama de Hollywood, y Steve Perry apareció de sorpresa en la ceremonia. Las relaciones con el resto del grupo mejoraron, pero Perry dijo que no había posibilidad de una reunión con su antigua banda en el futuro cercano. Diez miembros de Journey se juntaron ese día: Perry, Augeri, Cain, Castronovo, Dunbar, Fleischman, Schon, Smith, George Tickner, y Valory. En 2009, la serie Glee, del canal Fox, hace varias referencias a Journey en diferentes capítulos de la primera temporada, siendo Don't Stop Believin' la canción principal del primer capítulo de la serie. En la temporada final, se realiza un «Journey Medley». En julio de 2006, Steve Augeri comenzó a experimentar problemas con su voz y fue obligado a renunciar. Anunció que dejaría la banda por un tiempo debido a una infección en la garganta que requería que dejara descansar a sus cuerdas vocales. La banda trajo a Jeff Scott Soto para sustituirlo. Además, Deen Castronovo, quien llevaba tiempo cantando los coros e incluso sustituyendo a Augeri como cantante, cantó en power ballads como «Faithfully» y «Open Arms». El 19 de diciembre de 2006 la banda emitió un comunicado en su página oficial, donde nombraban a Soto como vocalista permanente. Sin embargo, el 12 de junio de 2007, Journey anunció la salida de Soto. El breve periodo de Jeff Scott Soto como vocalista se parece al igualmente breve periodo de Robert Fleischman en la misma posición en 1977, de la cual salió la decisión de contratar a Steve Perry. Los fanes especulan que la banda persigue la misma cadena de sucesos que hace 30 años les dio resultado. En septiembre de 2007, empezaron a circular fotos del poco conocido cantante Arnel Pineda con Journey. En el sitio oficial de Journey se da el comunicado oficial que Arnel Pineda será el nuevo vocalista oficial. Pineda tocaba con el grupo The Zoo el cual se dedicaba a tocar versiones de varias bandas. Neal Schon lo encontró por YouTube. Se contactó con él y luego de una soberbia audición fue incorporado a la banda. Su primera presentación oficial con Journey se realizó el 21 de febrero del 2008 en el Festival Internacional de la Canción de Viña del Mar en Chile con una transmisión televisiva en conjunto para 80 países y en vivo por señales locales, de cable y el afamado canal A&E. Pineda derrochó energía y logró cautivar a todo el público con su voz muy parecida a la de Steve Perry y su gran presencia escénica, rejuveneciendo a la banda y dejando en segundo plano su carácter de absoluto novato. Los periódicos y sitios de Internet de foros audiovisuales tipo YouTube se plagaron a los pocos minutos de sendos elogios para el nuevo vocalista y a su vez la prensa especializada nacional como extranjera alabó la presentación del grupo. Journey dio luego un concierto en el Estadio San Carlos de Apoquindo de Santiago, Chile, el 23 de febrero del 2008 junto a Peter Frampton y Earth, Wind & Fire, constituyéndose Chile en la única parada que se realizaría en Sudamérica con un gran éxito. Su siguiente álbum, Revelation, debutó en el n.º 5 en las listas de Billboard, vendiendo más de 196.000 unidades en sus dos primeras semanas y manteniéndose en el top 20 durante 6 semanas.Journey también encontró el éxito en las listas contemporáneas, donde el sencillo «After All These Years» pasó más de 23 semanas alcanzando el número 9. Los ingresos procedentes de la gira del 2008 la convirtieron en una de las más taquilleras del año, recaudando más de 35 millones de dólares. El 18 de diciembre de 2008, el álbum Revelation fue certificado disco de platino por la RIAA. El segundo álbum de la banda con Pineda, Eclipse, fue lanzado el 24 de mayo de 2011, y debutó en el n.º 13 en el Billboard 200. En noviembre de 2011, Journey lanzó su segunda recopilación de grandes éxitos, titulada Journey: Greatest Hits: Volume 2, que incluye canciones escogidas por el exvocalista Steve Perry. Durante la gira del año 2015, el baterista Deen Castronovo fue reemplazado por el músico de sesión Omar Hakim. Luego la banda anunció que Steve Smith retornaría nuevamente a ocupar el puesto de baterista en Journey. 25 de Junio 2021 nuevo single de Journey «The Way We Used To Be» es la primera canción que se estrena con la formación actual de Journey, compuesta por el guitarrista Neal Schon, el cantante Arnel Pineda y el teclista Jonathan Cain junto con las últimas incorporaciones: el batería Narada Michael Walden, el bajista Randy Jackson y teclista y cantante Jason Derlatka. A lo largo de diferentes entrevistas, el guitarrista Neal Schon ha dado a entender que esta nueva entrega discográfica está bastante avanzada, y que con suerte verá la luz antes de que termine el presente ejercicio. “Ya tenemos como seis temas rockeros», comentaba Schon en una entrevista con Rock & Review de FOX17 a finales del pasado año, y añadía que publicaran unos tres singles antes de estrenar el álbum completo e iniciar su gira de presentación. 29 de Julio de 2021 Deen Castronovo vuelve a Journey El guitarrista de Journey, Neal Schon, ha confirmado en las redes sociales que el ex baterista Deen Castronovo se ha reincorporado a la banda. Schon confirmó el regreso de Castronovo en una serie de comentarios en Facebook debajo de una historia del San Francisco Chronicle sobre Journey, que compartió el miércoles. Un fan comentó en la publicación, «Entonces, ¿Deen Castronovo está de vuelta en la banda ahora a tiempo completo?» a lo que Schon respondió simplemente, «Sí». Respondiendo a otro fan que imploró a la banda que «traigan de vuelta a Deen de nuevo», escribió Schon, «Deen ha vuelto. Ahora somos dobles (2) bateristas con Narada [Michael Walden, que se unió a la banda en 2020]». Schon no reveló hasta qué punto Castronovo participará en los espectáculos de Journey inmediatos y futuros. El guitarrista insinuó del regreso de Castronovo el martes cuando tuiteó una foto que parecía ser de los ensayos del concierto del viernes por la noche de la banda en el Aragon Ballroom en Chicago, que precede a la actuación del domingo de Journey en Lollapalooza. «Ok … Doble problema Chicago @NaradaMWalden @DeenTheDrummer Narada Michael Walden y el regreso de Deen Castronovo a la batería @AragonBallroom @lollapalooza», subtituló Schon en su publicación. Don't stop believin Monster «Any Way You Want It» - Caddyshack (1980)
www.iconsandoutlaws.com The band Journey came together in San Francisco in 1973 under the auspices of former Santana manager Herbie Herbert who also managed The Steve Miller band, Roxette, and Europe. They were initially called the Golden Gate Rhythm Section and were backup players for established Bay Area bands. Originally, it included Santana alumni Neal Schon on lead guitar and Gregg Rolie on keyboards and lead vocals. Completing the band were bassist Ross Valory and rhythm guitarist George Tickner, both from the band Frumious Bandersnatch. Prairie Prince of The Tubes served as drummer. After one particular performance in Hawaii, the crew quickly abandoned the "backup band" idea and began developing their own distinctive jazz fusion style. After an unsuccessful radio contest to name the group, roadie John Villanueva suggested the name "Journey." The band's first public gig was at the Winterland Ballroom on New Year's Eve 1973 to an audience of 10,000, and the following day, they flew to Hawaii to perform at the Diamond Head Crater to an even bigger audience. Prairie Prince returned to The Tubes shortly after. On February 1, 1974, the band hired British drummer Aynsley Dunbar, who had recently worked with the one and only David Bowie and was also a member of the second version of Frank Zappa's Mothers of Invention. On February 5, 1974, the new lineup debuted at the Great American Music Hall, showcasing in front of Columbia Records executives. They signed a recording contract with the label following the performance and later performed at venues around the Bay Area. Journey went into CBS Studios in November 1974 with grammy award-winning producer Roy Halee to record their debut album "Journey." It was released in April 1975, entering the Billboard charts at number 138. This record was a jazzy progressive rock album focused mainly on the band's instrumental talents. It featured songs like "Of A Lifetime" and the instrumental, "Kahoutek,"; both songs pushing the 7-minute mark. Rhythm guitarist Tickner left the band shortly after due to the heavy touring the band was promoting the album, allowing Schon to take on the complete guitar duties. Journey entered the studio again in late 1975 to record "Look into the Future," released in January 1976 and hit the Billboard Top 200 charts at number 100. The band promoted the album with a two-hour performance at the Paramount Theatre in Seattle, which later aired on the radio as touring continued to promote their second album. For this second album, the members of Journey toned down the overt progressiveness of their first release in favor of a more straightforward sound. The album also features a cover version of The Beatles' "It's All Too Much" from the 1968 Yellow Submarine film and 1969 soundtrack. The title track, "Look Into The Future," was the longest recorded Journey song at 8:10 until 1980, when "Destiny" from Dream, After Dream would claim that honor. From May to October 1976, the band went to "His Master's Wheels" Studios to record their third studio album, "Next," which, just like the previous album, was produced by the band. However, they brought a much more commercial sound while keeping their jazz fusion and progressive rock roots. The album was released in February and charted on the Billboard Top 200 at 85. It would be the last album to feature Gregg Rolie as the lead singer. "Spaceman" with the instrumental "Nickel and Dime" was the single, and, unfortunately, sales did not improve, which led Columbia Records to almost dropping the band. About these times in the band's career, lead guitarist Neal Schon has said: "I still think some of the stuff we did then was great. Some of it was self-indulgent, just jamming for ourselves, but I also think a lot of other things hurt us in the early days. It took a while for the politics to sort of shape up." Journey's album sales did not improve, so Columbia Records requested they change their musical style and add a lead singer who would share lead vocals with Rolie. In comes Steve Perry, right? Nope! The band hired Robert Fleischman from the Los Angeles-based band "Staggerwing" and began transitioning toward a more popular style, similar to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977, opening for bands like Black Sabbath, Judas Priest, and Emerson, Lake & Palmer. Fleischman and the rest of the band began writing and rehearsing new songs, including the hit "Wheel in the Sky." However, this new lineup would be short-lived because the band was introduced to that guy I mentioned earlier, Steve Perry, during a performance before approximately 100,000 at Soldier Field in Chicago. This chance encounter was significant because differences between Fleischman and manager Herbie Herbert resulted in Fleischman's departure from the band within the year. Steve made his live debut with the band at the Old Waldorf in October 1977, stepping into His Master's Studios and Cherokee Studios from October to December. Herbie hired Roy Thomas Baker as the new record's producer to add a layered sound approach similar to a band Baker had previously worked with, a little English band called "Queen." With a new lead singer and new producer in tow, the band's fourth studio album, Infinity, was released in January 1978, and peaked at number 21 on Billboard. "Lights", "Anytime," and "Wheel In The Sky" were the album's singles, and it has sold over 3 million copies. Journey then set out on tour supporting the album and headlined a full tour for the first time. According to Herbie, tensions were high between Aynsley Dunbar and the rest of the band due to the change in music direction from the jazz-fusion sound. Guitarist Neal Schon said: "We would talk about it, and he'd say he'd be willing to simplify things. But we'd get out there, and after five shows he wasn't doing that at all." Finally, Dunbar's resistance came to a head when he started playing erratically and talking crap about the other members, which later resulted in Herbie axing Dunbar after their headline tour. He was replaced by Berklee-trained drummer and Montrose member Steve Smith. Perry, Schon, Rolie, Smith, and Valory returned to the studio at Cherokee Studios in late 1978 to record their fifth album, Evolution, which was later released in March 1979, peaking at number 20 on Billboard and selling another 3 million copies. This album, which would be a milestone for the band, gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'," peaking at number 16, and was all over the radio. Following the tour in support of Evolution, the band expanded its operation to include a lighting and trucking operation for future gigs. The tour had grossed more than $5 million, making the band as popular as it had been in five years. Journey later entered Automatt Studios to record their sixth studio album, Departure, released in March 1980, peaking at number 8 on Billboard. The first single, "Any Way You Want It," peaked at number 23 on the Billboard Hot 100 in 1980. The album featured an edgier sound, thanks partly to the "live in studio" way the songs were recorded. They initially went into the studio with 19 tracks, eventually trimming down to 12. This record would also go on to sell over 3 million copies! Founding member and keyboardist Gregg Rolie left the band following the Departure tour to start a family and undertake various solo projects. It was the second time he had departed from a successful act in his career. Yep, he left Journey and Santana. Keyboardist Stevie "Keys" Roseman was then brought in to record the lone studio track, "The Party's Over (Hopelessly in Love)," on the band's live album "Captured." Rolie suggested pianist Jonathan Cain of The Babys as his permanent replacement so, with Cain's synthesizers replacing Rolie's organ, Cain had become the band's newest member. With Cain joining as the new keyboard player, the band entered Fantasy Studios in Berkeley, California, in late 1980, releasing their seventh studio album, "Escape," in July 1981. Escape became their most successful album, charting at number one in the United States. In addition, the album had a ton of hit singles, including: "Who's Crying Now," "Still They Ride," "Open Arms," and the iconic "Don't Stop Believin'." In July of 2021, it was certified diamond, selling over 10 million copies!! Oh, and "Escape" had its own video game! Journey Escape was a video game developed and manufactured by Data Age for the Atari 2600 console and released in 1982. Want to hear the plot of the game? You're on the road with Journey, one of the world's hottest rock groups. A spectacular performance has just ended. Now it's up to you to guide each Journey Band Member past hordes of Love-Crazed Groupies, Sneaky Photographers, and Shifty-Eyed Promoters to the safety of the Journey Escape Vehicle in time to make the next concert. Your mighty manager and loyal roadies are there to help, but the escape is up to you! These other bands may have been successful, but not Atari 2600 successful. Journey began another lengthy yet successful tour on June 12, 1981, supported by opening acts Billy Squier, (My Kind of Lover) Greg Kihn Band, Point Blank, and Loverboy. They then opened for one and only The Rolling Stones on September 25 of the same year. MTV videotaped one of their two sold-out shows in Houston on November 6, 1981, in front of over 20,000 fans, later released on DVD, which for 1981 was HUGE. Following the success of the 1981 tour, the band's entire establishment as a corporation, and the formation of a fan club called "Journey Force," the band released "Only Solutions" and "1990s Theme" for the 1982 Disney film Tron. At this point, Journey was absolutely killing it, so they entered Fantasy Studios again in the middle of their 1982 tour to record their eighth studio album, Frontiers. Released in February 1983, "Frontiers" was the band's second-biggest selling album, selling over six million copies. Peaking at number 2 on the Billboard charts, it spawned the hit singles "Separate Ways (Worlds Apart)," "Send Her My Love," "After the Fall," and of course, "Faithfully," and you can hear our version of Faithfully wherever you listen to new music and at the end of this episode. Journey began the tour supporting "Frontiers" in Japan and continued in North America alongside the Canadian Crooner, Bryan Adams, as the opening act. During the tour, NFL Films recorded a video documentary of their life on the road called "Frontiers and Beyond," shooting scenes at JFK Stadium in Philadelphia, Pennsylvania with more than 80,000 fans in attendance. After the success of the Frontiers tour, the band decided to take some well-deserved time off. Steve and Neal both tried their hands at solo projects, and in 1984 Steve Perry, with the help of band manager Herbie, recorded and released his first solo album, Street Talk. Street Talk released Perry's biggest hit as a solo artist, "Oh Sherrie," written for his then-girlfriend Sherrie Swafford. The song hit #3 on the billboard hot 100 and #1 on Billboard's Rock chart, and the accompanying music video (also featuring Swafford) was a hit on MTV. Neal Schon toured briefly in 1984 with his supergroup HSAS, supporting their sole album, "Through the Fire, released that year on Geffen. Sidenote, what does "HSAS" stands for? Any guesses? Hagar Schon Aaronson Shrieve featured lead vocalist Sammy Hagar (Van Halen), lead guitarist Neal Schon, bassist Kenny Aaronson (The Yard birds), and drummer Michael Shrieve. (Santana). The group reportedly rehearsed for less than a month before playing in concert. Who are the Yardbirds? (For Your Love) Well, they were an English rock band formed in 1963 and launched the careers of a few notable guitarists like Eric Clapton, Jimmy Page, and Jeff Beck Also, At age 20, drummer Michael Shrieve was the second youngest musician to perform at Woodstock while playing for Santana. His drum solo during "Soul Sacrifice" in the Woodstock film has been described as "electrifying." When asked by the press if Journey was finished after selling their properties at the end of 1984, guitarist Neal commented, "No way Journey's ending. We're all too committed to this band to ever let that happen. In fact, one of the reasons we decided to go off in separate directions for a while was to keep the band as strong as ever." After a productive phone call between Cain and Perry, the band returned to Fantasy Studios in late 1985 to record their ninth studio album "Raised on Radio," but with Steve Perry acting as the album's producer. Unfortunately, things were pretty tense within the band leading Herbie and Steve to fire both bass player Ross Valory and drummer Steve Smith for musical and professional differences. This booting took place only a few months into the recording sessions for the album, though Valory later admitted he left the band on his terms. Bassist and future American Idol judge Randy Jackson, bassist Bob Glaub, and established drummer Larrie Londin were brought in to continue the album's recordings. If you're not familiar with Larrie Londin, check out his credentials. He's done session work with everyone from the Supremes and Marvin Gaye to Elvis and Dolly Parton. He is an absolute legend in the business—an "icon" for sure. "Raised on Radio" was released in May 1986, peaking at number four on Billboard's album chart but underperforming compared to the band's previous two albums. It featured five singles: The top ten hit "Be Good to Yourself" along with "Suzanne," "Girl Can't Help It," "I'll Be Alright Without You," and "Why Can't This Night Go On Forever?". The Raised on Radio support tour began at Angels Camp, California, in August 1986. The band performed sold-out shows throughout the United States before concluding with two shows in Anchorage, Alaska, in early 1987, with selected dates supported by Honeymoon Suite (New Girl Now), The Outfield (Your Love), and Glass Tiger (Don't Forget Me When I'm Gone.) The tour featured Randy Jackson on bass and Mike Baird on drums, and was videotaped by MTV for a documentary that included interviews with the band members called Raised on Radio, just like the album. MTV apparently loved themselves some Journey! With tensions between Perry, the band, and manager Herbie at an all-time high following the tour's conclusion, Perry was unable or unwilling to remain actively involved and was tired of touring as it affected his health and his vocals. Steve said: "I called Jon and Neal together. We met in San Rafael, we sat on the edge of the marina, and I just told them, 'I can't do this anymore. I've got to get out for a while.' And they said: 'Well, what do you mean?' And I said: 'That's exactly what I mean, is what I'm saying. I just don't want to be in the band anymore. I want to get out; I want to stop.' And I think Jon said: 'Well, just take some time off, and we'll think,' and I said: 'OK, fine.' And I just sort of fell back into my life. I looked around and realized that my whole life had become everything I'd worked so hard to be, and when I came back to have a regular life, I had to go find one." He also stated: "The truth is, that I thought music had run its course in my heart," Perry explains in a statement on his website. "I'd had an amazing time in an amazing band, and then the chance to express myself as a solo artist too. But I had to be honest with myself, and in my heart, I knew I just wasn't feeling it anymore." "For a long time, I could barely even listen to music. My last show with Journey was February of 1987. Then one day, it hit me that I couldn't do this anymore. I felt as if I had to jump off this merry-go-round — this big beautiful mothership that we had all worked so hard together to build." Following the "Raised on Radio" tour, the band went into a hiatus. However, Columbia Records released the Greatest Hits compilation in November 1988, which became one of the biggest selling greatest hits albums, selling over 15 million copies and continuing to sell half a million to a million copies per year. The compilation spent 750 weeks on the Billboard album charts until 2008. To date, their greatest hits album has sold almost 21 million copies worldwide. Here's something else I wasn't aware of. While Steve Perry had retreated from the public eye, Schon and Cain spent the rest of 1987 collaborating with other profound artists. They worked with artists like Jimmy Barnes and Michael Bolton before teaming up with Cain's ex-Babys bandmates John Waite and Ricky Phillips. They, in turn, formed the supergroup Bad English (When I See You Smile, Price of Love) with drummer Deen Castronovo in 1988, releasing two albums in 1989 and 1991. Steve Smith, however, devoted his time to his jazz bands, Vital Information and Steps Ahead, and teamed up with former bassist Ross Valory and original Journey keyboardist Gregg Rolie. They formed the band "The Storm" with singer Kevin Chalfant and guitarist Josh Ramos, and guess who their manager was? Herbie, of course!! On November 3, 1991, Neal Schon, Jonathan Cain, and Steve Perry reunited to perform "Faithfully" and "Lights" at the Bill Graham tribute concert 'Laughter, Love & Music' at Golden Gate Park in San Francisco, California, following the concert promoter's death in an unfortunate helicopter accident. In October 1993, Schon, Rolie, Valory, Dunbar, Smith, and Cain reunited and performed at a private dinner for manager extraordinaire Herbie Herbert at Bimbo's in San Francisco, with Kevin Chalfant (Allen Parsons Project live singer) on lead vocals. After the breakup of Bad English in 1991, Neal Schon and Deen Castronovo formed the glam metal band Hardline (Takin Me Down) with brothers Johnny and Joey Gioeli, releasing only one studio album before his departure. Neal later joined Paul Rodgers (Bad Company vocalist) in 1993 for live performances, alongside Castronovo. In 1994, Steve Perry had released his second solo album, "For the Love of Strange Medicine," and toured North America in support of the album, though his voice had changed since the last time he had performed. Those high notes weren't as easy to hit anymore. Steve Perry ultimately decided to reunite with Journey under one condition. He demanded that there be a bowl of peanut M&Ms backstage at all times and that they HAD to be all brown with one, just one, green NON-peanut M&M on top. Yeah, that's not true. Steve's one condition was that Herbie Herbert would no longer be the band's manager. Instead, the band hired Irving Azoff, longtime Eagles manager, as the new manager for the band in October 1995. Steve Smith and Ross Valory reunited with the band and started writing material for their next album, with rehearsals beginning that same month. The band began recording their tenth studio album, "Trial by Fire" in early 1996 at The Site and Wildhorse Studio in Marin County and Ocean Way Recorders where they recorded under producer "The Caveman" Kevin Shirley (Mr. Big, Iron Maiden, Dream Theater.) This album was released in late October that year, peaking at number three on the Billboard album charts. The album's hit single "When You Love a Woman" reached number 12 on the Billboard charts and was nominated in 1997 for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The album also produced three top 40 mainstream rock tracks, "Message of Love," reaching number 18, "Can't Tame the Lion," hitting number 33, and "If He Should Break Your Heart," reaching number 38. It sold roughly 1.5 million units. Plans for a support tour failed when Steve Perry, while hiking in Hawaii on a ten-day break in August 1996, discovered he had a degenerative bone condition and could not perform without hip replacement surgery. The accident resulted in the album's release date being delayed. Upon its release, "Trial By Fire" was considered the band's worst-selling album and failed to match the originality and playability of the band's previous work. Neal Schon later admitted that the album had too many ballads and fans just wanted to hear that sweet, sweet rock and roll saying: "Even on our last record, the Trial By Fire record, a lot of the rock stuff just got shelved and ended up being like twenty ballads, I don't know how many ballads." The band took another break following the album's dismal release to work on more solo projects, waiting for Perry to decide if he was able to or wanted to tour. Schon released his solo album Electric World in 1997, later creating Abraxas Pool with former Journey member Gregg Rolie, drummer Michael Shrieve and a few former Santana members. Jonathan Cain released his two solo albums, Body Language and For A Lifetime in 1997 and 1998 respectively. Following the reunion album's long-awaited release, Journey was becoming restless and tired of waiting for an answer from Steve Perry and touring. Following a phone call between Cain and Perry, Steve announced that he would again depart from Journey, releasing himself from the band's contracts and deciding to semi-retire from the music business. Steve Smith later quit the band, saying that Journey would not be the same without Perry and returning to his jazz career and his project "Vital Information." The band hired the familiar drummer Deen Castronovo, Schon's and Cain's Bad English bandmate, to replace Steve Smith. After auditioning several high-profile candidates, including Geoff Tate (Queensryche), Kevin Chalfant, and John West (Royal Hunt), Journey replaced Perry with Steve Augeri, formerly of Tyketto and Tall Stories. The band later recorded the song "Remember Me," featured on the soundtrack for the 1998 film Armageddon. Upon the song's release, the song showed fans that the band made the right decision in hiring Augeri. That soundtrack has sold over 5,392,500 copies. Following a rehearsal with Augeri and Castronovo, the band went to Japan to perform four gigs, where they had still held an enormous fanbase. When asked how he felt about touring again in over a decade, Neal Schon commented: "It's a little like we are reborn again." Next, Journey embarked on a tour in the United States titled "Vacation's Over" which began in October and concluded at the end of December in Reno. They continued the tour with another leg in 1999, starting in Minnesota in June and finishing in Michigan in September. From March to August 2000, the band entered Avatar Studios to record yet another studio album, "Arrival" with producer Kevin Shirley. The album was released in Japan later in the year, with a North American release in April 2001. The album had peaked at number 56 on the Billboard charts. However, the single "All the Way" failed to boost sales for the album. It was considered a disappointment with mixed opinions regarding the album, resulting in Sony dropping the band from the label. Upon the album's completion, the band set off on tour supporting the album in Latin America, the United States, and Europe. In response to the attacks in New York City on September 11, 2001, Journey joined various bands at a major fundraising event on October 20 and 21 at the Smirnoff Music Centre in Dallas, Texas, to raise money for the victims and families of the tragedy. The event raised around one million dollars. The Journey camp was quiet in 2002 as Neal Schon formed ANOTHER band, "Planet Us," with Castronovo, Sammy Hagar, and former Van Halen bassist Michael Anthony until 2004, when they disbanded. Schon also co-wrote songs alongside the band Bad Company, while keyboardist Jonathan Cain released another solo album. Recording a few songs between 2001 and 2002, Journey released a four-track EP titled "Red 13" in November under their new label "Journey Music." The band chose the album cover design through a fan contest with the online cover designed by fan Kelly McDonald. However, the retail cover was only made available at the band's shows and was designed by Christopher Payne. Journey only performed one club gig in support of the EP but later began another tour of the United States from May to August 2003. They continued touring the following year with another summer tour titled "Summer Detour" which began in June and concluded in September 2004. In November of that year, Journey joined REO Speedwagon and Styx for a tour around the Caribbean aboard the Triumph cruise ship. Sounds miserable. I'm not too fond of boats. In 2005, the members of Journey were inducted into the Hollywood Walk of Fame alongside former members Steve Perry, Dunbar, George Tickner, Steve Smith, and Fleischmann. Rolie was the only member who did not appear at the ceremony. Surprised to see Perry joining them to accept the induction with the band, Valory commented that it was a pleasant surprise to see him. Following their addition to the Hollywood Walk of Fame, the band began recording at the Record Plant in Sausalito, California, for their twelfth studio album, "Generations," which featured producer Kevin Elson who had collaborated with the band before. The album was released on August 29 in Europe, with a North American release following on October 4. The album peaked at number 170 on the Billboard charts. To promote the album and celebrate the band's 30th anniversary, the band embarked on a tour starting in Irvine, California, in June and concluding in Phoenix in October. Each concert on tour was three hours long with an intermission and featured many of their classic hits and included the new songs from the album. "Generations" sold less than 100,000 copies. In 2006, the band toured Europe and joined Def Leppard on a North American tour. During the tours however, there was talk that Augeri was not singing but instead using backing tracks to cover up his deteriorating vocals. Those allegations resulted in him getting attacked by the fans. Augeri had suffered from vocal attrition problems before the band began the tour with Def Leppard. In addition, Journey had been accused of using pre-recorded lead vocals before, an accusation that former manager Herbie Herbert insists was true. SHOCKER. Valory denied the allegations, stating that it was a myth, a lie, an all-out fabrication, and that Augeri's vocals did not give out! In a later press statement, the band announced that Augeri had to step down as Journey's lead singer and leave the tour to recover. Augeri performed his last show with Journey on July 4 in Raleigh. With the tour still happening and successful, the band quickly hired Jeff Scott Soto from Talisman as their lead vocalist for the tour. He performed as Journey's vocalist on July 7 in Bristow for the first time. Because of its success and popularity, The band later extended the tour to November. Soto was officially announced as the band's new vocalist in December 2006. If you're keeping track, that's five lead singers. Following tours of Europe and the United States in 2007, the band announced on June 12 that Scott Soto was no longer with them. In a statement, Neal Schon stated: "He did a tremendous job for us, and we wish him the best. We've just decided to go our separate ways, no pun intended. We're plotting our next move now." Cheeky. I love it. Following Soto's exit from the group, the band was without a lead vocalist again. So Neal Schon began searching YouTube for a new lead vocalist, with Jeremey Hunsicker of the Journey tribute band "Frontiers" auditioning and spending a week with the band writing material. Hunsicker claims to have been formally offered the position, but it fell through shortly following tension with Schon. However, one of the tracks co-written with Hunsicker, "Never Walk Away," later appeared on the Revelation album. Neal Schon later found Filipino singer Arnel Pineda of the cover band The Zoo, covering the song "Faithfully." (Our version is arguably better, just saying.) Schon was so impressed that he contacted Pineda to set up two days of auditions with him. The auditions went well, and they later named him the official lead vocalist of Journey on December 5, 2007. In 2007, the hit song "Don't Stop Believin'" gained coverage and sharp growth in popularity when it was used in The Sopranos television series final episode, prompting digital downloads of the song to skyrocket. But, unfortunately, the Soprano's finale also pissed a lot of people off. In November 2007, Journey entered the studio with Pineda to record the studio album "Revelation." The album was released on June 3, 2008. It debuted at number five on the Billboard charts, selling more than 196,000 units in its first two weeks and staying in the top 20 for six weeks. As a multi-disc set (2-CD), each unit within that set counts as one sale, which I didn't know. Journey also found success on Billboard's Adult Contemporary chart, where the single "After All These Years" spent over 23 weeks, peaking at number 9. "Revelation" has sold over 1 million copies. On February 21, 2008, Pineda performed for the first time with Journey in front of 20,000 fans in Chile. The band began the "Revelation" tour in the United Kingdom in June, continuing the tour into North America, Asia, Europe, and South America, concluding in October. Receipts from the 2008 tour made Journey one of the top-grossing concert tours of the year, bringing in over $35,000,000. On December 18, 2008, Revelation was certified platinum by RIAA. The band performed at the Super Bowl 43 pre-game show in Tampa, Florida, on February 1, 2009. The band continued their Revelation tour in May and concluded it in October 2009. They also performed in Manila in front of 30,000 fans, recorded for a live release, "Live in Manila." In 2009, "Don't Stop Believin'" became the top-selling song on iTunes among those released before 2000, with over 500,000 downloads. Journey then entered Fantasy Studios in Berkeley, California, in 2010 with Pineda to record their next studio album, "Eclipse." The album was released on May 24, 2011, and debuted at number 13 on the Billboard 200 charts with the singles "City of Hope" and "Human Feel." Unfortunately, "Eclipse" could not match the success of Revelation, barely selling 100,000 copies—an 1/8th of the previous album's sales. They later toured the United Kingdom in June 2011 with Foreigner and Styx. Journey was awarded the "Legend of Live Award" at the Billboard Touring Awards in October. The band later released Greatest Hits 2 in November of 2011. In June 2015, drummer Deen Castronovo was arrested following a domestic altercation. Journey fired him in August and was replaced by Omar Hakim on the band's 2015 tour. He was sentenced to four years probation after pleading guilty to domestic violence charges. In 2016, Steve Smith again returned as Journey's drummer, reuniting all of the Escape-Frontiers-Trial by Fire lineup members except lead singer Steve Perry. In 2018, during the North American tour with Def Leppard, Journey topped the Billboard Hot Tours List for grossing more than $30 million over 17 shows. On March 3, 2020, Schon and Cain announced that they had fired Smith and Valory and were suing them for an alleged "attempted corporate coup d'état," seeking damages over $10 million. The lawsuit alleged Smith and Valory tried to "assume control of Nightmare Productions because they incorrectly believe that Nightmare Productions controls the Journey name and Mark" to "hold the Journey name hostage and set themselves up with a guaranteed income stream after they stop performing." Valory and Smith contested the firings with the support of former manager Herbie Herbert and former lead singer Steve Perry. Court filings revealed that Steve Perry had been paid as a band member for years despite not performing. In an open letter dated that same day, Schon and Cain stated Smith and Valory "are no longer members of Journey; and that Schon and Cain have lost confidence in both of them and are not willing to perform with them again." Valory counter-sued Schon and Cain for their partnership's claim of owning the Journey trademark and service mark. In June 2020, Neal Schon announced via his social media page that a new album with Jackson and Walden was "starting to take shape." The following month, he confirmed the album's progress and that they would release new music in early 2021. In January 2021, he announced that the album's first single would be released later that year, with the possibility of a worldwide tour to follow. In April 2021, the band reached an "amicable settlement" with former members Valory and Smith, confirming they were no longer a part of Journey. The single "The Way We Used to Be" was released on June 24, 2021. In July 2021, Neal Schon confirmed that Deen Castronovo, had rejoined as a second drummer. On February 16, 2022, the band announced the title and track listing of their upcoming fifteenth studio album "Freedom," which is set to be released on July 8, 2022. On March 1, 2022, Cain confirmed that neither Walden nor Randy Jackson remained in the lineup, with Walden's dipping out following a minor heart attack following a live show in Pennsylvania. Nevertheless, they both still played on Freedom, as they had completed their parts on the album before departing. The second single, "You Got the Best of Me," was released on April 26, 2022. The third single, "Let It Rain," was released just recently, on May 17, 2022. So be on the lookout for Journey's new album! According to the Recording Industry Association of America (RIAA) Journey has sold 48 million albums in the U.S., making them the 25th best-selling band. In addition, their worldwide sales have reached over 80 million records globally, making them one of the world's best-selling bands of all time.
Very grateful to host Andre & Chris on this 262nd edition of Hangover Sessions; on the eve of their show at Great American Music Hall, which occurred the night before this show was broadcast! Check out the full live interview with the dynamic duo from 45 minutes into this podcast, including live performances of their brilliant original tracks and a great cover song too as well as some carefully selected playlist tracks of their own choosing to get those hangover sessions vibes a-flowing!Follow Andre & Chris and their latest antics / music @ https://www.instagram.com/andrecruzandchrislujan
Billy and Luke have been best friends since 2009. They have seen hundreds of concerts and watched thousands of hours of Professional Wrestling. Listen to the two best friends chat about their music taste and why they started watching Wrestling in the first place!(This episode was recorded before Taylor Hawkins tragic passing. We are both severely crushed to hear this. Our hearts and love go out to his family and all the lives he touched)Tours:Joy Oladokun - 4/11 the Troubadour & 4/13 Great American Music Hall in SFGinger Root - 4/12 @ LA PalladiumEmily Wolfe - 4/22 The Lodge in Highland ParkThe Aces - 6/4 @ WeHo Pride & 8/21 @ YouTube Theater LA----------------------------Hosted by Luke Schoepf.Theme Music by Ed Russek.Additional tunes from Jonny Lemons Follow the show on Social Media: @lukehaspodcastEmail: lukehasapodcast@gmail.comListen to all the new music I mentioned in mySpotify New Releases Playlist
On this episode we chat with Austin-based singer and songwriter, Emily Shirley, and gain some insight into her musical career and creative process, along with discussing our usual topics of influences, cuisine and Bermuda triangle bands. Emily has a rapidly increasing catalogue of fantastic songs. She has released a plethora of singles in recent years reflecting a variety of issues and current events we have come to know, some via the inspiration and timelines of Austin's prestigious 11:59 Songwriting group. Though her topics vary from thanking first responders for their bravery and service (Everyday Heroes) to surviving a Texas winter storm (Survivors), Emily's brand of thoughtful pop/rock is consistently as finely tuned and polished as her freelance graphic design projects. Her latest single, "The Last Time" taps into our mortality and the fleeting nature of relationships and life. A Connecticut native, Emily was steeped in church choir, musical theater, and Debbie Gibson at a young age. Classically trained on piano and a seasoned singer in acapella choirs, she found her place as a vocalist and writer when she joined the Boston-based soulful pop and electronica band, Amun Ra. The band released 2 full length albums and toured the Northeastern U.S. in her 6 years with them. In 2006, Emily moved to Austin, Texas and realigned her musical existence. Now a mother working at starting her own business Emily "had to carve out solo space and find a way to let music work with my lifestyle,” She rediscovered a love for piano and began writing, gigging and even teaching for a stint at Red Lead School of Music. Her EP Tiny Truths was released in 2010, produced by Daniel Barrett. In 2013 Emily joined Austin pop favorites The Belle Sounds on piano, synth, and vocals. The band has toured Texas and the West Coast as well as performing at iconic venues like the ACL Moody Theater in Austin and The Great American Music Hall in San Francisco. In 2017 Shirley also joined The Big Fix, a harmony driven indie rock band founded by Nathan Harlan. Over the next few years Emily released a series of singles that culminated in the releases of two EPs, Duotone (2015) and Courage Up (2018, produced by Mark Hallman and engineered by Andre Moran at The Congress House Studio in Austin). Whether she is performing solo, with her full band, the Belle Sounds or her latest project, a cover trio entitled Sister Golden Hair, Emily has definitely established herself as a vibrant and talented force in the Austin music scene. Shirley tells life stories through song, revealing interesting characters and settings in a way that the listener still finds relatable. Emily Shirley's artistic point of view and skillful sonic experimentation make for a varied and stirring repertoire. “My formative years are still happening,” she jokes when describing her musical life, the honest response of a musician and creator always on the lookout for the next spark. A few personal picks from us: Eyes In The Dark | Ghost Ranch For more on Emily Shirley check out emilyshirley.com
This week on the Loaded Radio Podcast we are joined by DEATH ANGEL guitarist Ted Aguilar. Ted has played guitar with the iconic thrash band for twenty years now and has secured himself among the genres top shredders. Ted joins us to discuss DEATH ANGEL's new live album, "The Bastard Tracks", which arrives on November 26 via Napalm. The record is made up of deep album cuts that fans don't often hear when they go and see the band live, even though they may be some of your favorite tracks. Well, DEATH ANGEL wanted to do something about that! The band put together a set list dubbed “The Bastard Tracks”. They then performed it in the middle of a pandemic at The Great American Music Hall in San Francisco on May 22nd, 2021, and streamed it worldwide the following week. The Bay Area thrashers dig deep into their catalog to perform older favorites, newer classics and songs that have never been performed live before. You'll hear the stories behind the songs, and get a glimpse into the collective minds and souls of DEATH ANGEL. Recorded live by the band's long time 6th member and sound engineer, Thilo Fehlinger and then mastered by the sonic mastering overlord Ted Jensen (Green Day, Machine Head, Trivium) the recording consists of 15 deep cuts of impeccable sound quality to get any DA Pack Member thrashing about like they were there! And as always, Loaded Radio's Johnny Rude joins us in the second portion of the podcast to discuss the week that was in hard rock in metal.
In part 2: • Joel shares the very Spinal Tap type moment, the first time he met the guys in Moe. and dives a little into Umphrey's relationship with them. • We talk some more about sit ins, who he would have liked to make a guest appearance and answers the question, "has anyone ever said no to sitting in with Umphrey's?"• Who he would love to have sit in at this year's Summer Camp Music Festival• That time Phil Lesh sat in with the band at Great American Music Hall back in 2004 Show Notes + Links: Follow our hosts on social media: Joel Cummins: Twitter: @goldlikejoel Instagram: @goldlikejoelSara Jachimiak: Instagram: @sarajachimiakSummer Camp Music Festival: Summer Camp Music Festival | August 20-22, 2021 | Three Sisters Park : Summer Camp Music Festival (summercampfestival.com)Photo used in promo by: Grateful GypiesWhere you can find them: Website: Grateful Gypsies ~ Improvise your life.Instagram: @gratefulgypsiesDropped Among This Crowd Podcast: Email: droppedamongthiscrowdpod@gmail.comInstagram page: https://www.instagram.com/droppedamongthiscrowdpodcast/ Facebook Page: https://www.facebook.com/droppedamongthiscrowd/Dropped Among This Crowd on YouTube: https://tinyurl.com/y7zqveo5Where you can also watch video interviews on IGTV: https://www.instagram.com/droppedamongthiscrowdpodcast/channel/Twitter: https://twitter.com/amongthiscrowdBook a conversation on "Dropped among this Crowd":https://calendly.com/droppedamongthiscrowdpod"Dropped Among This Crowd" Official Etsy store: https://www.etsy.com/shop/AmongthisCrowdDropped Among This Crowd Media Company:Website: Umphreak Spotlight (weebly.com)Instagram: DATC Media Company (@datcmediacompany) • Instagram photos and videosTwitter: DATCMediaCompany (@DatcMedia) / TwitterUmphrey's McGee Tour Dates: Tour Dates | Music | Concert Tour Dates | Umphrey's McGee (umphreys.com)YOU WALKED UP SHAKING IN YOUR BOOTS BUT YOU STOOD TALL AND LEFT A RAGING BULL - Umphrey's McGee (umphreys.com)
The San Fransisco Bay area was very influential on the music scene in the late '60s and early '70s. In this episode, I am talking with Lee Brenkman, who has spent over 50 years working in many of the iconic venues there like the Avalon Ballroom, Family Dog on the Great Highway, and the Great American Music Hall. A very influential person in live sound history is Bob Cohen. He was the co-owner, co-manager, and sound engineer for the Family Dog, the San Francisco concert promoter that ran neck-and-neck with Bill Graham.Cohen went on to start his own sound company called Lumiere Productions. He invented the modern-day intercom system and founded the company Clear-Com with Charlie Butten. Lee Brenkman was there in the shop as Bob and Charlie were drawing the schematics out on butcher paper.For the last 47 years, Lee has worked at the Great American Music Hall as the house sound tech and later becoming the sound department head. We spent a fair amount of time talking about the progression of gear through the years there, along with some memorable shows like Duke Ellington's last San Fransisco performances, Robin Williams HBO Special, and more.-----------------Jimmy Hendrix Show for Family Dog in Denver Colorado, Feb 14, 1968Lee discusses this the show and how he provided support speakers in the episode. you can listen to a recording of the show.------------------Check out www.howwegotloud.com for more details and other episodesSupport the podcast on PatreonGet your How We Got Loud swag at our online storeI want to thank Earthworks for sending me their new ICON podcasting microphone. It looks awesome and sounds great.Please check out and support The Roadie Clinic, Their mission is simple. "We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle."
iTunes Spotify Youtube Patreon Keith Knobler is the Head of Audio at the Bill Graham Civic Auditorium in San Francisco, CA. Over the last 30 years he has honed his skills as a monitor engineer at some of the areas preeminent venues such as Slim’s, the Great American Music Hall, Maritime Hall, Covered Wagon Saloon, and On Broadway. He grew up in Westhampton, Long Island but after high school decided to head west to see what opportunities existed for him. He used his interest in journalism to find work around town which helped him gain access to clubs and shows. On the advice of a friend at the Fillmore he started mixing bands in the small “poster” room upstairs and immediately a love affair with audio was born. The audio crew took him under their wing and over the next four years trained and mentored him. Eventually he started mixing monitors at the Fillmore and the rest as they say, is history. He’s been a member of IATSE local 16 since 2007 and has worked with thousands of artists including the Chris Robinson Brotherhood, Hot Tuna, and Cock Sparrer. Today’s episode is sponsored by Boulevard Carroll, Lensrentals, & Airturn. Special Mentions: Bill Graham Civic Auditorium, John Joseph – The PMA EFFECT, Charlie Karp Scholarship Fund,Focusrite Podcast Studio Makeover, Girl on the Road: How to Break into Touring from a Female Perspective – Claire Murphy, I Am Michael Alago: Breathing Music. Signing Metallica. Beating Death, The Girl in the Back: A Female Drummer's Life with Bowie, Blondie, and the '70s Rock Scene, Tour Health Research Initiative, ROADIE: My Documentary (TJ Hoffman film), Loud: A Life In Rock ‘N Roll by the World’s First Female Roadie. By Tana Douglas, Mixing Music Live, The Last Seat in the House: The Story of Hanley Sound, The Power of Podcasting Panel at NAMM, Soundgirls, Roswell Pro Audio Mini K87, Filming Great Concert Footage, Roadie Short Film, Roadie: A True Story (at least the parts I remember), Roadie Free Radio Merch
To say today's episode is personal would be an understatement. Your host Z. Lupetin founded the group in Venice Beach, CA over ten years ago with a lucky Craigslist ad that started it all. What started as a clandestine jam group with as many as ten instruments going full blast at an after hours advertising office, the band was soon starting in speakeasies and small venues around LA, with the band eventually recording their beloved live album “With A Lampshade On” at the famed Troubadour in LA and the Great American Music Hall in San Francisco. In 2013 Liz Beebe joined the group and they began touring full time, becoming a powerhouse eight piece band that wowed festivals and stages in over dozen countries, playing over a hundred and fifty shows a year and releasing seven full length records along the way - including their soul-dipped self-titled work from 2017 produced by Grammy-winner Ted Hutt, the co-founder of Flogging Molly. This week celebrates the release of their most daring work to date - “Is It You, Is It Me” produced by Sam Kassirer (Lake Street Dive, Josh Ritter) and engineered by Brian Joseph (Bon Iver, Sufjan Stephens). The album doesn't shy away from confronting the powerful political fallouts happening in families and communities around the country - and their emotional rock n roller “Get Rid Of You” pays homage to the courageous kids in Parkland, FL who stood up and demanded gun control measures be taken now - prompting recent glowing write-ups in Rolling Stone and Billboard. Z was able to gather the whole band around the mic while on the road in New Hampshire - make sure you stick around to the end of the episode as the band shares their intimate acoustic single “Let It Go”.
We be jamming with Brian from Spafford and reminisce about growing up in New Jersey, confusing call outs about carpets thanks to Greg from PPPP (Flock U!)..and we discuss the art of puppetry. Along with his band mates they are gearing up for a historic and epic run, starting in Los Angeles at the Roxy, then hitting San Francisco's Great American Music Hall for New Years, before doing what they do...TOUR man, all through the winter! Get down, and get funky and check out the band at www.spafford.net and follow Brian on the gram @jerseymoss and @spaffordmusic See omnystudio.com/listener for privacy information.
Betty Carter was one of the most individual and adventurous of Jazz singers. No less than Carmen McRae said that "there is only one Jazz singer.....only one and that's Betty Carter". A strong citation indeed. This live set recorded at San Francisco's "Great American Music Hall" is one of her very best. She feeds off the audience and the audience is enraptured with her. Her magnificent trio is comprised of the great John Hicks on piano, Curtis Lundy on bass and the dynamic Kenny Washington on drums. Betty presents her own tunes and a few standards with her unique phrasing and her totally original approach. "The Audience With Betty Carter" is in awe of her creativity and so will you be. Betty Carter tonight on The Jazz Feature!
A quick show to throw together.....*Opening Salvo - The Usual Suspects- Reggie Perkins - High school Caesar [Ray Note 1959] 45 rpm**Bed: Rolling Stones - 2120 S. Michigan AveSet 1: Thundering Heroes- Georgie Fame - Somebody stole my thunder [CBS 1969] LP - Seventh Son- Pretty Things - It'll never be me [Ugly Things 2009] LP - Philippe DeBarge**DRR ID- North Mississippi All Stars - Moonshine [ATO 2005] LP - Electric Blue Watermelon- Green Day - Working Class Hero [Reprise 2007] CD Single **Bed: see aboveSet 2: The Street Knows- Psychedelic Guitar Circus - Wade in the water / Interview with Harvey Mandel on WNTI FM -Internet Archive recorded at the Great American Music Hall in San Francisco 1993** Canned Heat radio ad- Canned Heat - Poor Moon [Liberty 1969] / Harvey Mandel - Ode to the Owl [Janus 1972] - A Mash of sorts.....- Big Star - In the Street [Ardent 1972] LP - #1 Record**Bed: see aboveSet 3: Over and Out- John Sinclair & the Blues Scholars - Monk in orbit [Alive 1996] LP - Full Circle- T Monk - Straight no chaser / Monk Hits
A not-to-miss variety show celebrating the wonderment and weirdness of SF's landmark indie bookstore with author Mary Roach, illustrator Wendy McNaughton, Thao of the Get Down Stay Down, Vetiver's Andy Cabic, Forum's Michael Krasny, author Robin Sloan, author and musician Willy Vlautin and more! Hosted by Arline Klatte and Beth Lisick on September 6, 2017 at the Great American Music Hall. Recorded and Mixed by Brandi Howell
Host Jesse Luscious Spins Selections from Slim Cessna's Auto Club's live performance on May 12, 2001 at the Great American Music Hall.
Just over a year ago, we chatted with Grahame Lesh about the release of Midnight North’s record “Under the Lights”. Since that time, Midnight North has been reasonably busy, playing tour dates, festivals, and making various media appearances. With news that Midnight North was releasing a live record, “Selections from the Great American Hall”, we reached out to not only get Grahame on the show, but also Elliott Peck who shares lead vocal, songwriting and harmonies with Grahame. For more on “Midnight North Selections from the Great American Music Hall” visit midnightnorth.bandcamp.com. Show Notes: **First Song:** 00:45 – Under The Lights **Interview Begins:** 05:56 **Extro Song:** 33:16 – Miss M See omnystudio.com/listener for privacy information.
Fred Armisen stops by to discuss his new Netflix comedy special, "For Drummers Only". The show is being filmed at the historic Great American Music Hall in San Francisco, this Thursday 10/19. Visit thetrapset.net for tickets.
After the death of his mother, Ned Buskirk wondered why we don't talk about death more. As a producer and artist, he found a way to invite the conversation when he hosted a small event in his home, called You're Going to Die: Poetry, Prose and Anything Goes. It was a hit, and led to larger and larger monthly events, a musician's program to work with people at the end of life, and finally, the largest event ever at the Great American Music Hall; You're Alive. He has established a non profit to support all these projects and bring the conversation to a larger and larger audience. He has also integrated the arts into the conversation, broadening his audience and inspiring in the meantime. What does he have in his vision for the future? Join us to find out.
After the death of his mother, Ned Buskirk wondered why we don't talk about death more. As a producer and artist, he found a way to invite the conversation when he hosted a small event in his home, called You're Going to Die: Poetry, Prose and Anything Goes. It was a hit, and led to larger and larger monthly events, a musician's program to work with people at the end of life, and finally, the largest event ever at the Great American Music Hall; You're Alive. He has established a non profit to support all these projects and bring the conversation to a larger and larger audience. He has also integrated the arts into the conversation, broadening his audience and inspiring in the meantime. What does he have in his vision for the future? Join us to find out.
After the death of his mother, Ned Buskirk wondered why we don't talk about death more. As a producer and artist, he found a way to invite the conversation when he hosted a small event in his home, called You're Going to Die: Poetry, Prose and Anything Goes. It was a hit, and led to larger and larger monthly events, a musician's program to work with people at the end of life, and finally, the largest event ever at the Great American Music Hall; You're Alive. He has established a non profit to support all these projects and bring the conversation to a larger and larger audience. He has also integrated the arts into the conversation, broadening his audience and inspiring in the meantime. What does he have in his vision for the future? Join us to find out.
This week we welcome the lovable Papa Bear to the broadcast! This man has such a bright personality, and is currently traveling around spreading his message through his beautiful music. We are excited to dive into his story. If you are familiar with the Convent in the lower Haight area, you’ve probably caught a performance or two. He’s graced the stage at the Great American Music Hall as well as performing at Symbiosis and Burning Man. He’s everywhere. Tim can’t make it to the show today, but guest co-host Kim Bruder makes it in. We had to head out a little early today so it's a shorter broadcast. David had to head to sound check for his Neck of the Woods gig. All in all, a beautiful episode. Enjoy!
This week we welcome Julian Müller to the broadcast! After living his days in Germany, England, and Ireland Julian has recently received his permanent resident card and can now share his music with us! We’ve had the pleasure of seeing him create harmonies on many notable San Francisco stages, from the Fillmore to the Great American Music Hall, and his vocal quality is unmatched. It’s a real honor to welcome him today and to allow him to share some of his creativity with us. We dive into a lot of bread talk, and teach J exactly what porchetta di testa is. We get a couple call-ins and definitely get a couple laughs in. Enjoy!
It's storytime again, as Martin, Sam and Callum are taken on a series of single-verse vignettes. Watching the way Waits creates a series of spaces, the kind of shamed men who live there, and his ability to simultaneously retain a sense of fun all form part of the conversation on this week's Song by Song. Song by Song is Martin Zaltz Austwick and Sam Pay; two musicians listening to and discussing every single Tom Waits track in chronological order. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: The One That Got Away, Small Change, Tom Waits (1976) The Man That Got Away - Live at Great American Music Hall, Mystery White Boy, Jeff Buckley (2000) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.
Beardoz Brain #2 02.29.16 Leap Year!! Leap Over This LIVE Stuff !!! Frank Zappa - Deathless Horsie from Capitol Theatre 10/13/1978 Early Show 1978 (6:26) Dizzy Gillespie Quintet - Con Alma from Newport Jazz Festival 7/1/1965 1965 (8:33) Commander Cody - Lost In The Ozone from Bottom Line 8/15/1977 Early Show 1977 (3:39) Hot Tuna - Hit Single #1 from New York Academy Of Music 9/26/1974 1974 (6:41) J. Geils Band - Sno-Cone from Fillmore East 6/27/1971 1971 (3:21) Willie Dixon & The Chicago Blues All Stars - Ain't Nobody's Business from Great American Music Hall 12/13/1973 2nd Set 1973 (4:48) Freddie Hubbard Quintet - Space Track from Carnegie Hall 7/5/1974 1974 (15:22) Hall & Oates - Abandoned Luncheonette from Capitol Theatre 12/11/1976 1976 (6:32) Johnny Winter - Silver Train from Palace Theatre 11/7/1973 1973 (3:30) Levon Helm and The RCO All Stars - Rain Down Tears from Cheshire County Fairgrounds 7/2/1977 1977 (5:07) Iggy Pop - Sister Midnight from Agora Ballroom 3/21/1977 1977 (3:56) Mahavishnu Orchestra - Meeting of the Spirits from Constitution Hall 12/2/1973 1973 (13:21) Larry Coryell - The Real Great Escape from SUNY New Paltz 3/17/1973 1973 (10:59) The Mothers Of Invention - Sleeping In A Jar from Forum Musiques TV Program 1968 (8:37)
Jack Andraka was just a fifteen year old Maryland high school sophomore when he invented an inexpensive early detection test for pancreatic, ovarian, and lung cancers. After a close family friend died of pancreatic cancer, Andraka (then a ninth grader) became interested in finding a better early-detection diagnostic test. He learned that the lack of a rapid, low-cost early screening method contributed to the poor survival rate among individuals with pancreatic cancer. After thinking further about the problem, he came up with a plan and a budget to put his ideas in motion. Still a teenager, Andraka’s groundbreaking results have earned him international recognition, most notably a 2014 Jefferson Award, the nation’s most prestigious public service award, 1stplace winner in the 2014 Siemens We Can Change the World Challenge, a 2014 National Geographic Explorer grant, the 2012 Intel ISEF Gordon Moore Award, the 2012 Smithsonian American Ingenuity Youth Award, Advocate Magazine’s 40 under 40 award, and he’s also the 2014 State of Maryland winner of the Stockholm Water Prize. In addition, Andraka was First Lady Michelle Obama’s personal guest at the 2013 State of the Union Address. He speaks to audiences of youths and adults all across the globe about his personal story, research, and his ideas for STEM education reform. He has been featured in several documentaries including Morgan Spurlock’s Sundance Film Festival entry, “You Don’t Know Jack,” Linda Peters’ award winning film, “Just Jack,” Ken Burns’ upcoming documentary about cancer, as well as 60 Minutes, The Colbert Report, ABC World News with Diane Sawyer, CNN, BBC, Fox, Rede Record de Televisão, and radio, newspaper, and magazine articles around the world. Andraka speaks at a wide variety of locations including universities, schools, technology organizations and corporations, hospitals and the education sector. His audiences range from youth—children and teens through to adults in the science and technology fields. Andraka is a freshman at Stanford University, Class of 2019. He is a member of the National Junior Wildwater Kayak team, a Life Scout and has won numerous awards in national and international math competitions. Learn more about Jack – www.JackAndraka.com Jack’s Memoir BREAKTHROUGH: How One Teen Innovator Is Changing The World was published by HarperCollins Children’s Books in March 2015. Jack’s riveting memoir encourages his generation to approach their pursuits, whatever they may be, with an attitude of determination and gumption. Whether giving advice or admitting to personal shortcomings and failures, Jack’s story remains engaging and motivational as he shares his experiences of bullying, depression, rejection, and ultimately international success. Jack shows how the curiosity and perseverance of one teenager could potentially save the lives of millions of people. BREAKTHROUGH empowers its audience with the knowledge that the power to change the world is within each and every one of us, if only we have the courage to realize our full potential. Learn more about Jack’s Memoir or order it for yourself – Jack's Memoir --------------------------------------------------------------------------------- Raised by a wild pack of Jews, otherwise known as her mother and siblings, Dana Goldberg is a force of nature on stage. She sets the standard for smart comedy, and her timing and tongue-in-cheek edginess is why she continues to collect loyal fans in cities all over the world. Goldberg’s quick wit and playful stage presence is spreading like wildfire! Voted one of the “Top Five Funniest Lesbians in America,” CURVE Magazine raves, “One of the brightest star in a stellar comedy landscape!” The Irish Post writes, “Dana’s sharp, insightful observations are concealed behind an easy-going chatty style. This makes her one of a handful of comics able to transfer their work across the Atlantic.” The Advocate.com named Goldberg one of the top three LGBT comedians in the country. Goldberg started her comedy career in 2003 in front of 650 people in a sold out theater in Albuquerque, New Mexico. Seven months into her career she was invited to Scotland by Emmy Award Winning writer Paul Wagner to perform with 13 other American comedians as part of the US Comedy Invasion at the Fringe Festival in Edinburgh. After returning to the states, Goldberg began competing in festivals and competitions all over the country. She was one of five national finalists to perform in the “Wendy’s Good Taste Comedy Challenge” produced by HBO and TBS in Las Vegas, Nevada as part of The Comedy Festival. In 2005 Goldberg was chosen out of thousands of comedians to participate in the San Francisco International Comedy Competition. In three short years, she was invited to New York City to share the stage with powerhouse comedians Roz G, Laurie Kilmartin and Judy Gold for the 17th Annual Comedy Hour at Caroline’s On Broadway on behalf of the Ms. Foundation and Gloria Steinem. Since her explosive start, Goldberg has performed in clubs and theaters all over the country, graced two national magazine covers, and performed in 23 states and 7 countries. In 2006, just three years after she stepped onto the stage for the first time, Goldberg put on a producer’s hat and started the Annual Southwest Funnyfest in Albuquerque, New Mexico. Each year Goldberg hosts the night of comedy to help benefit New Mexico AIDS Services (NMAS). She brings the best national female headlining comics to the Land of Enchantment for a night of non-stop, no holds barred, side splitting comedy. Since its inception, the Funnyfest has helped to raise close to $30,000 for NMAS and has brought in over a dozen comedians from The Tonight Show with Jay Leno, Comedy Central, Late Night With Craig Ferguson, Last Comic Standing, and Comics Unleashed. In the summer of 2009, Goldberg starred in her comedy special “One Night Stand Up: Episode 4” on the LOGO network; filmed at the Great American Music Hall in San Francisco. Later that year she recorded her debut DVD “Hot And Bothered: Dana Goldberg Live” in Albuquerque, New Mexico. Emmy award winning comedian David Brenner raves, “One of the best ways to beat the recession is with laughs, and Dana Goldberg offers you one of your best chances to get some in her debut DVD.” After moving to Los Angeles in the fall of 2009, Goldberg found a new comedy home and it wasn’t long before she was headlining nights at world famous clubs like The Laugh Factory and the LA Improv. Goldberg continues to combine her gift of humor with humanitarian efforts raising over three million dollars to fight HIV/AIDS and joins LGBT communities and organizations across the country to raise national awareness in the fight for equality. Since joining the Human Rights Campaign family in 2009, Goldberg has headlined comedy nights, hosted, and assisted in live auctions for HRC events across the country in more than a dozen cities. In addition to her hilarious comedy and side-splitting performances, Goldberg has shared the national stage with President Barack Obama, former President Bill Clinton, Shonda Rhimes, Jennifer Hudson, Lady Gaga, Kathy Griffin, and Portia de Rossi just to name a few. As the youngest child in a single parent household run by a Jewish mother in which two of three kids are gay, Goldberg helps keep most of the comedy venues and half of the psychotherapists in the country in business.
En dokumentär av Åsa Veghed. En del av Flyktens musik i P2 Med mod och humor har hon och hennes syster utmanat de iranska och amerikanska politiska systemen med sitt konstnärskap i bandet Abjeez och fått alternativ musik att blomma i den persiska diasporan. Likt Laleh och en rad anda musikkvinnor födda på 80-talet har hon den där do-it-yourself-mentaliteten. Hon är utbildad flamencogitarrist och ljuddesigner. Musiken som hon komponerat till senaste teaterföreställningen Sista sucken är skriven till en operasångerska och bland annat komponerad som tango i finsk tappning.Men det är med bandet Abjeez hon blivit internationellt känd. Abjeez är persisk slang å betyder syrra. Safoura Safavi startade bandet Abjeez med sin syster Melody Safavi i Östersund 2005. Abjeez var ett av de första alternativa populärmusikaliska banden som sjöng på persiska till reggaerytmer och bossa nova. Texterna är utmanande, ofta feministiska och politiska. Deras publik finns över hela världen och de har spelat för fullsatta konsertsalar i USA, bland annat på The Great American Music Hall och The Roxy Theatre. Familjen Safavi flydde Iran 1987 och placerades i den lilla jämtländska kommunen Krokom och det är bland annat i den miljön som dokumentären utspelar sig. Alla Abjeez låtar är arrade av Abjeez originalmedlemmar 2005-2014; Robin Cochrane, Johan Moberg, Paulo Murga, Erland Hofgaard, Sufi Safavi, Melody Safavi och Safoura Safavi.Från 2014 består Abjeez av Safoura och Melody Safavi som fritt samarbetar med olika musiker.Skådespelarröst: William WahlstedtKompositör och ljuddesigner: Safoura SafaviTextförfattare: Safoura & Melody SafaviTekniker: Monica BergmarkLjudcitat från föreställningen Sista Sucken, manus Paula McManus och regi Dan Turdén.
Brock Wilbur (@brockwilbur) joins the Gilmore Guys LIVE in San Francisco at the Great American Music Hall to gab all about 514 - Say Something. Special thanks to Kyle Maack for shooting the video podcast. Video Podcast: https://www.youtube.com/watch?v=uQwBuSUyZXM - Pop Culture Plugs - Brock Wilbur: You Must Remember This (
Gordie levitates at the Great American Music Hall and his post master hips him to some good music Paul takes a rare school bus ride and his aunt hips him to some good music
S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices
S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices
S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices
S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices
S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices
S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices
show #51110.12.13 1. Black Sabbath - Blue Suede Shoes - 1970 - from Live at Musikladen (Bremen, Germany) (5:58) 2. John Ginty with Albert Castiglia - Elvis Presley - 2013 - from Bad News Travels (5:59) 3. The Steady Rollin' Revue featuring Jo Harmon - Love light - - from The Steady Rollin' Revue featuring Jo Harmon (3:43) 4. Kirsten Thien - Fooled Around And Fell In Love - 2013 - from Solo Live From The Meisenfrei Blues Club (3:56) 5. Elvin Bishop - My Dog - 2007 - from Booty Bumpin': Recorded Live (5:42) 6. Treat Her Right - You Don't Need Money - 1986 - from Treat Her Right (3:17) 7. Roy Head - Treat Her Right - 1965 - from 45 rpm (2:01) 8. Head Hands & Feet - One Woman - 1973 - from Old Soldiers Never Die (5:35) Spinner's Section: 9. Taj Mahal: the Calypsonians (6:32) (Sacred Island, Prvate Music, 1998) 10. James Day: fish where they bite (3:17) (Firecracker, Neon Blue, 2009) 11. Moochers: take it easy (4:16) (Play The Game, Klate, 2005) 12. Dutch Tilders: I'm a bluesman (3:45) (Mine And Some I Adopted, Black Market Music, 2005) 13. ZZ Hill: I'm a blues man (3:31) (I'm A Blues Man, Bellaphon, 1984) 14. Jelly Roll Kings: no I didn't know (3:58) (Rockin' The Juke Joint Down, Earwig, 1979) 15. Oscar Benton Blues Band: took me a long time [1972] (5:00) (Bensonhurst Blues, EMI, 1981) 16. Barrelhouse: teaching and preaching (4:47) (Blue Ain't Blue, Ariola, 1983) 17. Delbert McClinton: shot from the saddle (3:40) (Keeper Of The Flame, Capricorn, 1979) 18. The Nighthawks: let's work together (3:12) (Damn Good Time, Severn, 2012)Back To Beardo: 19. Tom Waits - Eggs and Sausage (In a Cadillac with Susan Michelson) - 1975 - from Nighthawks at the Diner (4:19) 20. John Hammond, Jr. - Heartattack and Vine - 2001 - from Wicked Grin (4:40) 21. John Hammond with The Nighthawks - Mama Keep Your Big Mouth Shut - 1979 - from Hot Tracks (3:22) 22. The Nighthawks - Ubangi Stomp - 1976 - from Nighthawks Live El Macombo (3:20) 23. The Night Hawks - Rockin' With The Hawks - 1962 - from Alon 45 RPM (2:30) 24. Danny Morris - Arthur's Boogie - 2001 - from The Golden Prize (5:01) 25. David Bromberg - Keep On Drinkin' - 2013 - from Only Slightly Mad (3:49) 26. Les Lucky - I'll Take My Chances - 2013 - from Frets & Hammers (2:49) 27. Roky Erickson and the Explosives - Before You Accuse Me - 2007 - from Great American Music Hall 3/1/2007 (3:39)
From his debut as a jazz influenced blues-based artist to his evolution into a pop music iconoclast, singer-songwriter A.J. Croce has traveled a circuitous musical road. Now, with Twelve Tales, A.J. unveils his most ambitious recording project to date: A dozen new tracks recorded by legendary producers across a variety of American cities to be released one song each month, concluding with the complete full length CD release at the conclusion of 2013.His new single "Rollin' On" was a co-written with legendary songwriter and musician Leon Russell. The son of legendary singer-songwriter Jim Croce, A.J.’s musical evolution was inspired by a broad spectrum of styles including classic rhythm and blues, folk, and British rock. Over A.J.’s 20 year career began with his first tour at age 18 opening up for B.B. King. He has shared the stage with an innumerable list of eclectic artists from Dave Matthews to Ray Charles, Béla Fleck to James Brown, Lyle Lovett to Morphine, and Rod Stewart to Lenny Kravitz. He will be celebrating what would have been his Dad's the late, GREAT Jim Croce's 70th birthday August 9 at Great American Music Hall in San Francisco will be a special night with 4 to 5 Jim Croce songs throughout the night, paying tribute to his life and music. This year he would be 70. Spread the news and come celebrate! It'll be a one-of-a-kind night." “A.J. Croce has wisdom beyond his years. With his music, he represents his generation with a profound sense of honesty in his lyrics and quality in his delivery. The future of entertainment is safe in his hands!” - Willie Nelson
Issue 36 - It's A Mixed Bag Baby! Robert 'Bob' Duvet reviews Girls at SF's Great American Music Hall, previews his 'pic' shows for RAWKtober, tripleshoots the Treasure Island Music Fest, plays unreleased brand new music from 'across the pond', spotlights San Antonio record label Saustex Records and finally plays Brooklyn's The End Men!! On the music podcast that is OFFICIALLY nominated for "Best Music Podcast" in this year's Podcasting Awards. Also find us on Mevio
Issue 36 - It's A Mixed Bag Baby! Robert 'Bob' Duvet reviews Girls at SF's Great American Music Hall, previews his 'pic' shows for RAWKtober, tripleshoots the Treasure Island Music Fest, plays unreleased brand new music from 'across the pond', spotlights San Antonio record label Saustex Records and finally plays Brooklyn's The End Men!! On the music podcast that is OFFICIALLY nominated for "Best Music Podcast" in this year's Podcasting Awards. Also find us on Mevio
This week we will hear the rest of the second set from the 4/26/83 show at the Spectrum in Philadelphia PA. I personally enjoyed listening to this as I find the Truckin'->Morning Dew very well played and while many of us tired of Throwin' Stones ->Not Fade Away it did have its own charm and power.. I hope you enjoy this one!Grateful Deadthe Spectrum Philadelphia PA 4/26/83from set 2:Space ->Truckin'->Morning Dew->Throwing Stones->Not Fade AwayE: U.S. BluesI've also included a couple very nice pieces from Legion of Mary - this from the Great American Music Hall on 12/15/74 --The Night They Drove Old Dixie DownValdez In The Country (Bossa Martin)I hope you enjoy this week's Deadpod, and thanks to those of you who have supported us !!!be well my friends and enjoy the SUMMER :)
Cindy Blackman is in town Wednesday, October 28, 2009 for an SFJAZZ Tribute to Tony Williams, great drummer and composer (Dec. 12, 1945-Feb. 23, 1997). Blackman speaks about her friendship with the great musician, how he influenced her musical style and that of others to date, musicians who are not even aware of how much of his legacy lives on. The show is at the Great American Music Hall in San Francisco, 8 PM. Visit http://www.myspace.com/cindyblackmanmusic and www.sfjazz.org
Africa Jones interviews the director of the documentary "Killers Paradise" a film about femicide in Guatemala; Kate Raphael talks with the activist group Breast Cancer Action about corporate sponsorship of breast cancer fund-raising and the upcoming Avon walk in San Francisco; Safi Wa Narobi speaks with Courtney Hermann producer of the film "Standing Silent Nation" about the Lakota Nation's struggle with the federal government over tribal sovereignty; and we will have a tribute to musician Joan Armatrading who will be playing in San Francisco this Tuesday night at the Great American Music Hall. The post Women's Magazine – July 2, 2007 appeared first on KPFA.
(0:00) Don't Stop Til You Get Enough, 10.26.05, Berkeley Community Theatre, Berkeley, CA (Taper: John Hart) (10:58) Swampy Waters, 9.30.05, Mother Hall, Osaka, Japan (Tapers: Nigel Mouncey and Larry Fox) (16:09) Next to You, 3.22.03, Fillmore Auditorium, Denver, CO (Taper: Pete Coffan) (28:40) Drums, 3.20.03, Fillmore Auditorium, Denver, CO (Taper: Pete Coffan) (30:49) Fearless, 8.12.01, Horning's Hideout, North Plains, OR (Taper: Jim Pollock) (41:23) Rainbow Serpent, 4.5.05 Snow King Center, Jackson, Wyoming (Taper: Eric Himko) (47:44) Drums, 8.27.96, Great American Music Hall, San Francisco, CA (SBD) (53:09) Late in the Evening, 11.21.98, Liberty Lunch, Austin, TX (SBD) (1:00:48) Time Alive, 12.31.03, Auditorium Theatre, Chicago, IL (Taper: Jason Ho)
(0:00) Don't Stop Til You Get Enough, 10.26.05, Berkeley Community Theatre, Berkeley, CA (Taper: John Hart) (10:58)Swampy Waters, 9.30.05, Mother Hall, Osaka, Japan (Tapers: Nigel Mouncey and Larry Fox) (16:09)Next to You, 3.22.03, Fillmore Auditorium, Denver, CO (Taper: Pete Coffan) (28:40)Drums, 3.20.03, Fillmore Auditorium, Denver, CO (Taper: Pete Coffan) (30:49)Fearless, 8.12.01, Horning's Hideout, North Plains, OR (Taper: Jim Pollock) (41:23)Rainbow Serpent, 4.5.05 Snow King Center, Jackson, Wyoming (Taper: Eric Himko) (47:44)Drums, 8.27.96, Great American Music Hall, San Francisco, CA (SBD) (53:09)Late in the Evening, 11.21.98, Liberty Lunch, Austin, TX (SBD) (1:00:48)Time Alive, 12.31.03, Auditorium Theatre, Chicago, IL (Taper: Jason Ho)
00:00 Slacker^ (05.08.05 - Great American Music Hall, San Francisco, California) 11:49 Partyin' Peeps 20:04 The Bottom Half (05.07.05 - Great American Music Hall, San Francisco, CA) 33:34 Example 1 > 43:17 Jazz Odyssey > 50:50 Great American > 55:00 Mulche's Odyssey (05.06.05 - Great American Music Hall, San Francisco, CA) 63:16 All in Time (05.08.05 - Great American Music Hall, San Francisco, California) Total Broadcast Length 76:37 Notes: ^ with Eric Levy (Garaj Mahal) on keys Umphrey's spent three nights in San Francisco at the historic Great American Music Hall, and we are featuring selections from those special evenings in this Podcast. San Francisco-native Eric Levy stops by to add his unique key stylings on Slacker. The Bottom Half from 05.07 was on the receiving end of some excellent improvisation that will give the listener a much different impression of that song than the version from Podcast #4. The frenetic ending of Mulche's from 05.06 is followed by All In Time, one of the band's most immediately recognizable tunes.
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