Podcasts about Harry Nilsson

Today on the pod we are beyond excited to be joined by the great Fred Tackett. In addition to being a member of Little Feat, Fred has played with just about everyone you can think of. He was a member of Christian Bob's touring band, did the Lido Shuffle with Boz Scaggs, and strummed along with the Rhinestone Cowboy. But most importantly, for the sake of this show, and this month, he was a great friend of Harry Nilsson's. Fred was generous enough to share a lot of great stories and memories with us over the hour and, needless to say, you don't wanna miss it. 

Imagine being the person who asks, “What the hell happened to Blood, Sweat and Tears?” Beside that documentary, John Scheinfeld, who is from Milwaukee, masterminded films like “The U.S. Vs. John Lennon,” “Reinventing Elvis: The '68 Comeback” and “Who is Harry Nilsson and Why is Everybody Talking About Him?” John is an Emmy and Grammy-nominated filmmaker. I was working at WISN at the time and John wrote the catchy slogan: “Radio 11, WISN, of course.” You might have one of those bumper stickers, which I see selling on Ebay for $10.95. John surprised me at the end of the interview with a personal memory.

In which Trebor & Yma owe you an explanation ... and we give it to you! What we each owe to a rational listener. "No Kings" ... they're singing songs, and they're carrying signs. Also, Delaware declares independence, the Battle of Petersburg begins, we wish a Happy Birthday to Julie Hagerty and (posthumously) Harry Nilsson, we review The Objectivist Ethics, and wish you `a Happy Father's Day!

Just minutes before recording an episode about Harry Nilsson we heard that Brian Wilson had died. So we took this opportunity to speak about both of them and the wonderful similarities they share in their musical philosophies. Two artists who understood the importance of maintaining child-like wonder as long as possible in order to keep the soul tethered to the other world, the world of dreams. After all, dreams are nothing more than wishes and a dream is a wish your heart makes. RIP Brian. 

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2017 conversation with Jimmy Webb. ABOUT JIMMY WEBBJimmy Webb emerged as a superstar songwriter and arranger in 1967 when two of his songs – The 5th Dimension's “Up, Up and Away” and Glen Campbell's “By the Time I Get to Phoenix” - were among the five nominees for the Grammy's Song of the Year award. He went on to write a string of major hits for Campbell, including “Wichita Lineman,” “Galveston,” "Where's the Playground Susie,” “Honey Come Back,” and many others. Additionally, he penned “MacArthur Park,” which was a hit for a diverse range of artists, including Richard Harris, Waylon Jennings, Tony Bennett, Andy Williams, and Donna Summer; “The Worst That Could Happen,” which was a Top 5 hit for The Brooklyn Bridge; “Didn't We,” which was recorded by Thelma Houston, Frank Sinatra, Diana Ross, and Barbra Streisand; “All I Know,” which became a Top 10 hit for Art Garfunkel; “The Moon's a Harsh Mistress,” which has been recorded by Joe Cocker, Judy Collins, Linda Ronstadt, and Josh Groban; and “If These Walls Could Speak,” which was recorded by Glen Campbell, Amy Grant, Nanci Griffith, and Shawn Colvin. Others who've covered material from the Jimmy Webb songbook include Diana Ross, Dusty Springfield, Nina Simone, The Four Tops, Roberta Flack, The Temptations, The Association, Tom Jones, Dionne Warwick, Cass Elliot, Harry Nilsson, Nancy Wilson, Cher, Bob Dylan, The Everly Brothers, Nick Cave, John Denver, Kenny Rogers, Sheena Easton, David Crosby, Rosemary Clooney, Michael Feinstein, R.E.M., Aimee Mann, America, Aretha Franklin, Isaac Hayes, Peggy Lee, Bette Midler, James Taylor, Carrie Underwood, Dwight Yoakam, and The Highwaymen (consisting of Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson), who took Jimmy's song “Highwayman” to #1, earning him a Grammy for Country Song of the Year. As an artist, he has released more than a dozen albums. One of the most celebrated songwriters on the planet, Jimmy is the only individual to win Grammy awards for music, lyrics, and orchestration. He was inducted into the Songwriters Hall of Fame, the Nashville Songwriters Hall of Fame, and the Great American Songbook Hall of Fame. Additionally, he has received ASCAP's Lifetime Achievement Award, the Influential Songwriter Award from the National Music Publishers Association, and the Academy of Country Music's prestigious Poets Award. In 2015 he was named among Rolling Stone magazine's 100 Greatest Songwriters of All Time. Jimmy's memoir, The Cake and the Rain, details his formative years and early career through 1973. It's available now from St. Martin's Press. 

SUBSCRIBE TO IMPOSSIBLE WAY OF LIFE ON PATREON TO ACCESS FULL EPISODEhttps://www.patreon.com/animpossiblewayoflifeNilsson month continues and we are joined again by IWOL three timer's club member Johanna Samuels to discuss Harry Nilsson's "Ariel Ballet". This is the second of Harry's trapeze-like vocal showcase albums for RCA and, with the inclusion of "Everybody's Talkin'", the one that really made him a star. 

It's Nilsson month on Impossible Way of Life and we couldn't be happier about it. The sun is shining and all we wanna do is shake up a Brandy Alexander, crack a pack of Camels and discuss this larger than life rock n' roll vampire and all the cheeky music that comes with him. 

Rather than debating who put whose chocolate in which peanut butter, we see the results of someone really knowing what to do with some good ingredients. Without You, originally by Badfinger, covered by Harry Nilsson.  Outro music is Whiter Shade of Pale, by Procul Harum. 

SUBSCRIBE TO IMPOSSIBLE WAY OF LIFE ON PATREON TO ACCESS FULL EPISODEhttps://www.patreon.com/animpossiblewayoflifeIn the wise words of Axl Rose...where do we go now? Our Kinks marathon isn't quite over but it's wrapping up and it feels natural to head in a Power Pop direction. The problem is some people are also calling for an IWOL journey through Harry Nilsson's wild, storied music life. What will the decision be?!

In the latest episode, Grammy-nominated, Juno Award-winning producer Fred Mollin shares stories of working with legends like Michael McDonald, and Billy Joel. Plus, hear about his prank on Rod Stewart, dealing with a doped-up Harry Nilsson with a nasty attitude, his work on the Friday the 13th films, and more!Purchase a copy of Unplugged: Stories and Secrets from a Life of Making Records, Scoring Film, and Working with the Legends of MusicVisit FredMollinUnplugged.comVisit Fred Mollin's official website ---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:ACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

pWotD Episode 2922: Jill Sobule Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 207,999 views on Friday, 2 May 2025 our article of the day is Jill Sobule.Jill Sobule ( SOH-bee-ull; January 16, 1959 – May 1, 2025) was an American singer-songwriter best known for the 1995 single "I Kissed a Girl", and "Supermodel" from the soundtrack of the 1995 film Clueless. Her folk-inflected compositions alternate between ironic, story-driven character studies and emotive ballads, a duality reminiscent of such 1970s American songwriters as Warren Zevon, Harry Nilsson, Loudon Wainwright III, Harry Chapin, and Randy Newman. Autobiographical elements, including Sobule's Jewish heritage and her adolescent battles with anorexia and depression, frequently occurred in Sobule's writing.In 2009, Sobule released California Years, an album funded entirely by fan donations, making her an early pioneer of crowdfunding.This recording reflects the Wikipedia text as of 02:13 UTC on Saturday, 3 May 2025.For the full current version of the article, see Jill Sobule on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Aditi.

SPONSORS: Sign up for a $1 per month trial period at https://shopify.com/dannyb See what Poppy's up to at http://www.impoppy.com On this episode of The Danny Brown Show, the one-and-only Poppy stops by to talk about making music, inspiration, getting nervous for shows, and surviving toxic work environments. Her and Danny answer questions about being an outcast, hanging backstage, hygiene, and saving the monkey. They also watch Weird Web Videos featuring stage falls, a violin to the face, dog pee in the mouth, amusement park rides, and a guy getting his balls stuck in a chair. Other topics include: Jenga, Costco, cats, Harry Nilsson, and Dolly Parton nudes. Enjoy! Have a question for Danny? Hit us up at danny@thedannybrownshow.com The Danny Brown Show Ep. 153 https://xdannyxbrownx.com https://store.ymhstudios.com Chapters 00:00:00 - Intro 00:01:45 - Intro Poppy 00:04:26 - Making Music 00:09:24 - Ask Danny: Backstage & Eating on Tour 00:12:40 - Serbian Outcast & Dolly Parton Nudes 00:15:39 - Hygiene & Saving the Monkey 00:18:32 - Mean Boss 00:21:29 - Weird Web Videos: Stage Falls & Getting Nervous Before Shows 00:25:08 - Violin to the Face, Dog Pee to the Mouth, & Cats 00:27:23 - Ride Spinners & Stuck Balls 00:31:05 - Crypto Russians 00:33:52 - Making Music & Musical Inspiration 00:39:32 - Spin the Wheel: Jenga, Video Games, & Costco Learn more about your ad choices. Visit megaphone.fm/adchoices

Pop open a can of spinach and set sail for the far-off year of 1980, when noted auteur Robert Altman had his crew build an entire functioning town so they could shoot a Popeye movie. This unassuming comic strip adaptation represents the collision of the New Hollywood movement and the old studio system, both in their waning days; neither would survive “Stalag Altman,” as star Robin Williams coined it. Paul and Arlo are delighted by the end result, an improvisational-seeming ensemble picture in the Altman vein that also features cartoon gags, characters bursting into songs penned by Harry Nilsson, and a giant octopus. The boys discuss why the movie is so much better than its reputation suggests, Robin Williams' and Shelly Duvall's underappreciated performances, the surprisingly moving throughline of fatherhood, and so much more. Plus, a whole bunch of trailers for Marvel's Thunderbolts*, the new season of animated sci-fi anthology Love Death + Robots, the animated Predator movie Killer of Killers, and Wes Anderson's The Phoenician Scheme; Paul stuns Arlo by singing the praises of the new Amazing Spider-Man #1; and Arlo is still reading old school Fantastic Four.   NEXT: just when you thought it was safe to go back in the water, it's another That Was Then, as Paul, Arlo, and Eric Sipple take a bite out of Steven Spielberg's Jaws on the eve of its 50th anniversary.     BREAKDOWN 00:00:46  -  Intro / Even MORE Banter! 00:48:43  -  Popeye 01:59:28  -  Outro / Next   LINKS Thunderbolts* Love Death + Robots, Volume 4 Predator: Killer of Killers The Phoenician Scheme Popeye Is the Best Movie Robin Williams Ever Made by Eric Spitznagel, Vanity Fair   MUSIC “I Yam What I Yam” by Robin Williams, Popeye (1980) “I'm Popeye the Sailor Man” by Robin Williams, Popeye (1980) GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

Joe, Kyle, and Rick review the musical comedy, Popeye. Directed for film by Robert Altman, written by Jules Feiffer based on the comic of the same name created by E.C. Segar, and with music by Harry Nilsson. The film stars Robin Williams, Shelley Duvall, Paul L. Smith, Ray Walston, and Wesley Ivan Hurt. We ranked 12 of the songs from the deluxe soundtrack and picked our favorite lines, characters, performers, and scenes. Enjoy!

A touch more Schmilsson on the podcast as we examine his next 2 albums. And who would think this album pair would be well accepted everywhere? It's quite amazing how fair people can be.

Welcome to the age of discourse dumping, are you dizzy? Do you study emoji eyes to find your facial recognition? Does the world look like a Cubist painting? Is the phrase ‘rubber baby buggy bumper' starting to make sense? Not to worry. We are here to reassure you that the White Knight is, in fact, talking backwards and the inmates are indeed running the asylum. Our prescription: put the lime in the coconut and drink them both together, listen to Episode 72, and then you'll feel better. HAG is, after all, the Harry Nilsson of history podcasts, and our very special guest today is Moritz Mihatsch, Cambridge scholar and co-author (with Michael Mulligan) of Shifting Sovereignties (available now). Their terrific new book offers an illuminating journey through the global history of what power has forever wanted you to believe, i.e. that the right folks are in charge. Excavating the meaning of sovereignty from the sedimentary layers of the human past, our guest explains why governing has always relied on a Wizard of Oz-like control over sound and color, equal parts legal pretense and quasi-religious authority, to create cover for whatever power wishes to do. So click your heels twice, repeat “there's no home like HAG, there's no home like HAG,” and settle in for more therapeutic historical analysis of a world trying to make us crazy.Website: History Against the GrainOpening Theme by Jessie DeCarloMusic Interludes:Gil Scott Heron and Makaya McCraven: "Running"Darkside: "American References"

Hello everybody! Today, it's time to make the donuts! We are diving into Phish's, Baker's Dozen run. Listen in as we dig into the coconut-y goodness that was night one, 7/21/2017. With originals and covers of Junior Senior, Led Zeppelin, David Bowie, and Harry Nilsson this show really gives us everything.Enjoy!Thanks to phish.net for notes on these tracks.The music used in this episode is from phish.in.-----Intro Music is from Sigma Oasis, 07/12/23.Outro Music is from Cities, 10/07/23.Follow us on our listening journey. Rate, review, subscribe, and share! Find out more details on our new members-only perks here - https://www.patreon.com/PhishPhryPod.----------- Be our friends on social! We are @phishphrypod everywhere.

Musicians recount the strange and unexpected story behind the making of your favorite albums. Harry Nilsson ping-ponged through the songwriter-for-hire business and got some very famous admirers in the process before finding critical success with his breakthrough hit Nilsson Schmilsson. The fellas welcome an old friend and discuss half-baked song structures, detuned bass parts, and what song to listen to while crying in the Target parking lot. Check out Conan Neutron and the Secret Friends new record here: https://neutronfriends.bandcamp.com/Listen to / Support The Beverly Crushers "Enterprise" (Rob and Tom's new album)Submit your snarky tweet about "Enterprise" hereJoin our Mailing List here: https://linktr.ee/1001albumcomplaintsEmail us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/27F7FcKq7sB5DoAKDp7m7q?si=06aa30fedec24ec7Listen to Nilsson Schmilsson here:https://open.spotify.com/album/3EfpOFKjotrMQTFTnxrXaB?si=90KmR8hhTZetT1PSyo6J7gIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsJoin us on Patreon to continue the conversation and access 30+ hrs of bonus shows!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: Nine Inch Nails - The Downward Spiral

This week's show, after a 1978 Jam jam: brand new The Tubs, Fontaines D.C., Fotoform, Close Lobsters, Mt. Misery, Carla Olson & Todd Wolfe, and Flying Vipers, plus The Impressions, Harry Nilsson, Ray Price, Jackson C. Frank, Les Brown & His Orchestra, ...

For this months episode we head back to 1971 for a batch of epicly long prog epics, peppered with the occasional bit of folk rock, powerpop, metal, jazz, and afrobeat. Our longest playlist yet, and lots of fun along the way! We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - Badfinger, The Beach Boys, Black Sabbath, David Bowie, Can, Caravan, Neil Diamond, Nick Drake, Emerson, Lake & Palmer, Flower Travelin' Band, The Flying Burrito Brothers, Focus, Hampton Grease Band, Jimi Hendrix, The Hollies, Billy Joel, King Crimson, Mahavishnu Orchestra, Nazz, Harry Nilsson, The Norman Haines Band, Osibisa, Pink FLoyd, The Rolling Stones, Pharoah Sanders, Nancy Sinatra & Lee Hazlewood, Stephen Stills, Traffic, Van Der Graaf Generator & The WhoFind all songs in alphabetical order here - https://open.spotify.com/playlist/36GaQbyuHTepSEAQkXubCN?si=24673026411f4e51Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com 

John Jarvis is a legendary pianist and songwriter. At age 17 he was a pianist for Motown. He's worked with artists including Ray Charles, Sting, Rod Stewart and James Taylor. He's recorded with Elvis, Ringo, Harry Nilsson, Garth Brooks, Shania Twain and Jimmy Buffett. He's earned “Song Of The Year” Grammys for works with Vince Gill and The Judds. And he's written songs for Cher and the Olympics.My featured song is “With You” from the album PGS 7 by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“THE RICH ONES ALL STARS” is Robert's latest single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Valentine's Day isn't for everyone. So if you are going to be spending this day of love to end a chapter of your life and break it off with your significant other, we have some retro break up songs that may help you out. It's time for some closure on Enjoy Stuff.  It's not you, it's me. Ok, it's you. But, to lessen the impact of the fact I am breaking up with you, I have a special song recommended by the crew at Enjoy Stuff.  News Baby born at Krispy Kreme gets a lifetime supply of heart disease…uh, I mean donuts New Lucky Charms cereal will make you want to put some candles in it and celebrate your birthday Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Jay Scorsesed his week away watching the classic Goodfellas. It's a masterful piece of cinema that includes an amazing story with some great cinematic elements. Shua experienced the wacky adaptation of Back to the Future the Musical. It included some groundbreaking stage effects to help us envision a real Delorean. On tour now.     Sci-Fi Saturdays This week on Sci-Fi Saturdays Jay gets post apocalyptic with Denzel Washington's 2010 film The Book of Eli. The theming seemed a bit obvious, but after a watch, it revealed some deeper ideas that are still relevant today. Read his article on RetroZap.com. And make sure to play around with the interactive map on MCULocationScout.com. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU. Enjoy Moving On!  It's Valentine's Day! Enjoy the amore. Unless it's time to move on of course. It's never fun to get to the point where your relationship ends. But if you can lessen the blow (or make it stronger if necessary) then we have what you need. Retro break up songs! We will give you a nice list that should fit whatever situation you may be in. Plus, we'll give advice on where to break the news and what to do afterwards. So take some notes and prepare for the next chapter of your life.  Did we miss any good break up songs? How did it work for you?  First person that emails me with the subject line, “I got you babe” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

On today's episode of "Musicians that should be a household name" we're talking about Harry Nilsson!!! Sure, he was talked about plenty in his day, but what if I were to tell you that "One is the loneliest number", "Put the lime in the coconut", and the "Gotta get up" song from the show Russian Doll were all from the same dude! Would you talk about him then?? Nilsson was a songwriter's songwriter and you'll have to listen to this episode to find out why. Aaaaannd, today we have on another member of the 200 podcast episodes club, with George Heftler of the recently defunct "Best Little Horror Pod In Philly", in which every episode for 200 episodes, he (and his famous guests) tried to determine what the best horror movie ever made was. Round of applause for that!!!! Links: George and Brad discuss Holy Mountain: https://www.podchaser.com/podcasts/the-best-little-horror-house-i-1000453/episodes/the-holy-mountain-1973-with-br-177009691 Scoochie Boochie "Car Butt" music video: https://youtu.be/gvjYP5d7La8?si=V0TNkOS471C8khvx snowd4y - "Wah Gwan Delilah" (feat Drake) Music Video: https://www.youtube.com/watch?v=YRtyGtjgcNo Full Livestream of the episode: ⁠https://youtube.com/live/kQXYhnWjUII?feature=share⁠ OUR DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/2stA2P7pTC⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/flyoverstatepark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ EVERYTHING ELSE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/FlyoverStatePark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Rockshow Episode 208 Three Dog NightThree Dog Night is an American rock band that gained popularity in the late 1960s and 1970s. Known for their rich vocal harmonies and dynamic stage presence, the band was formed in 1967 by vocalists Danny Hutton, Chuck Negron, and Cory Wells. The group became famous for their ability to reinterpret songs written by other artists, turning them into major hits.Key Facts About Three Dog Night:• Genre: Rock, pop rock, soft rock• Years Active: 1967–present• Origin: Los Angeles, California, USA• Notable for: Three lead vocalists, strong harmonies, and a mix of rock, pop, and R&B influences.Biggest Hits:1. “Joy to the World” (1971) – Written by Hoyt Axton, this became their signature song, reaching #1 on the Billboard Hot 100.2. “Mama Told Me (Not to Come)” (1970) – Written by Randy Newman, this song topped the charts and showcased their ability to make songs their own.3. “One” (1969) – Originally by Harry Nilsson, their version became a Top 5 hit.4. “Shambala” (1973) – A feel-good song that became one of their most enduring tracks.5. “Black and White” (1972) – A song about racial harmony that also reached #1.6. “An Old Fashioned Love Song” (1971) – Written by Paul Williams, this ballad became another fan favorite.Band Name Origin:The name “Three Dog Night” reportedly comes from an Australian Aboriginal expression. It refers to cold nights in the desert when people would sleep with dogs for warmth—a “three dog night” being especially chilly.Legacy:Three Dog Night was one of the most commercially successful bands of their time, with 21 Top 40 hits, including three No. 1 singles and 12 gold albums. Even though their original run slowed down in the late 1970s due to internal struggles and changing musical trends, the band has continued to tour with various lineups.Danny Hutton still leads the group today, though founding members Cory Wells (2015) and Jimmy Greenspoon (2015) passed away, and Chuck Negron tours separately.https://www.threedognight.com/https://youtube.com/@threedognightmusic?si=mzY94yjNyRnFggxqhttps://www.facebook.com/share/15kxCffsfJ/?mibextid=wwXIfrhttps://www.instagram.com/threedognightofficial?igsh=MW42bGhzMTdjdmwzcg==https://x.com/threedognight?s=21&t=Mzw5de5zsR-SDDbhyzH0Lghttps://www.chucknegron.com/#ThreeDogNight #ClassicRock#70sMusic #RockLegends#MusicHistory #OldiesButGoodies#RockAndRoll #JoyToTheWorld#MamaToldMeNotToCome#OneIsTheLoneliestNumber#Shambala #BlackAndWhite#AnOldFashionedLoveSong#DannyHutton #ChuckNegron#CoryWells #MusicMemorabilia#VinylRecords #RetroMusic#ConcertVibesPlease follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.comhttps://linktr.ee/RobRossiGet your T-shirt at https://www.prowrestlingtees.com/gettinglumpedupAnd https://www.bonfire.com/store/getting-lumped-up/Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup

MONOLOGUE Trump's Triumph: Rewriting the Rules Before Inauguration Day  NEWSMAKER  Trump Delivers on Promise to Free Hostages Before His First Day in Office https://www.westernstandard.news/international/breaking-israel-hamas-reach-hostage-ceasefire-deal-days-before-trump-inauguration/61202 James Snell – is the Alberta Legislative reporter for the Western Standard OPEN LINES THE CULT OF CLIMATE CHANGE Inauguration Day 2025: Coldest since Obama in 2009 expected https://www.cnn.com/2025/01/15/weather/arctic-siberian-cold-outbreak-forecast-climate/index.html   WMO confirms 2024 as warmest year on record at about 1.55°C above pre-industrial level https://wmo.int/news/media-centre/wmo-confirms-2024-warmest-year-record-about-155degc-above-pre-industrial-level Tony Heller – Weather Historian, Geologist, Founder of Real Climate Science dot com MONOLOGUE Green Utopia Exposed: The Collapse of Trudeau's EV Pipe Dream NEWSMAKER Can the Secret Service Keep Donald Trump Safe During Next Week's Inauguration. https://www.politico.com/news/2025/01/14/trump-inauguration-security-threats-00198275   Michael Letts is the Founder, President, and CEO of InVest USA, a national grassroots non-profit organization that is helping hundreds of communities provide thousands of bulletproof vests for their police forces through educational, public relations, sponsorship, and fundraising programs. He also has over 30 years of law enforcement experience under his belt, hence his pro-police stance for his brothers and sisters in blue. OPEN LINES THIS DAY IN ROCK HISTORY In 1972, Don McLean's epic folk-rock ballad, “American Pie,” began a four-week run at the top of the Billboard Hot 100.  In 1977, the Eagles scored their third No.1 album in the US with Hotel California. One of the best-selling albums of all time, Hotel California marked the group's fifth studio LP and featured such enduring hits as “Life in the Fast Lane,” “New Kid in Town,” and the title track  In 1994, the prolific singer-songwriter, Harry Nilsson, died at the age of 52, following a heart attack. Jeremiah Tittle, Co-Host of "The 500 with Josh Adam Myers" podcast   Learn more about your ad choices. Visit megaphone.fm/adchoices

On the January 15 edition of the Music History Today podcast, there's George Harrison, Harry Nilsson, Joe Walsh, Mick Jagger, the Supremes, & Pitbull For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

It's Episode 68 of the Friday Night Karaoke Podcast, and the focus was on theme of the week winners in the Friday Night Karaoke Facebook group from 2024. It’s time to kick off the new year with style, music, and all the FNK vibes you love! In this week’s episode of the Friday Night Karaoke Podcast, Mike and Joe are taking a look back at 2024’s Theme of the Week winners, featuring incredible performances from our FNK community. These are the songs that defined a year of creativity, passion, and unforgettable karaoke moments. Get ready to party like it’s 2024, with a playlist that spans iconic classics, heartfelt ballads, and even an original song! This episode is all about celebrating the talent and spirit of the FNK family. FEATURED IN THIS EPISODE ALONGSIDE HOSTS Mike Wiston AND Joe Rubin: Stephen Strong melts hearts with a soulful rendition of "All of Me" by John Legend. His performance is as powerful as it is beautiful! Mike Tahir cranks up the energy with "All Star" by Smashmouth. You’ll be singing along in no time—it’s a total blast! Bonnie Richelle brings timeless charm with "I Wanna Hold Your Hand" by The Beatles. It’s a feel-good hit that never gets old. Erik Copper shares his original song "Limitless," showcasing his incredible songwriting talent and flow. This one’s truly special! Lauren Gregg stuns with a captivating cover of "Killing Me Softly" by Fugees. Her voice will leave you spellbound. Nancy Van Eindhoven delivers a powerful and emotional performance of "One" by U2, reminding us of the unity and hope music can inspire. Tee Bone brings a touch of nostalgia with "Everybody’s Talkin" by Harry Nilsson, transporting us to simpler, soulful times. Keith Hudson closes the show with a heartfelt rendition of "Live Like You Were Dying" by Tim McGraw. It’s a performance full of inspiration and heart. Join us as we celebrate the best of 2024 in karaoke, with performances that will make you laugh, sing, and maybe even shed a tear. Whether you’re an FNK regular or new to the community, this episode is the perfect way to kick off the year with music and joy. Let’s karaoke—2024 style! Love what you hear? Join the Friday Night Karaoke Facebook group here and be part of the magic! It's negativity free, ad-free, and all about the music: https://www.facebook.com/groups/fridaynightkaraoke See omnystudio.com/listener for privacy information.

May Pang : John Lennon's Lost WeekendMonday Nov 9th 730 PM , May Pang is being honored with the Ambassador of Rock AwardLe Poisson Rouge 158 Bleeker St. NYhttp://rockersonbroadwayMay Pang, world-renowned confidant and companion of John Lennon, has been in the public eye for over three decades. Her career in the music industry spans over 40 years, beginning with Allen Klein's company, ABKCO Industries, the firm which managed the Beatles, Apple Corps. Ltd. and the Rolling Stones besides having an extensive music publishing catalogue which included songs by Sam Cooke.In 1970, Lennon and Yoko Ono hired Pang as their personal assistant. She would eventually become their production coordinator -- playing a key role in records by Lennon, Ono and Harry Nilsson. In 1974, Pang was awarded an RIAA Gold Album Award for her work on Lennon's Walls and Bridges, the #1 hit album which included his first and only #1 single in his lifetime, "Whatever Gets You Thru The Night." She can also be heard singing on "#9 Dream," the second single from the album.In the late 1970s working for Island Records, Pang coordinated all activities related to the release of albums by Robert Palmer, Third World, and Bob Marley and the Wailers. By the early 1980s, she was one of the leading professional managers in the music publishing industry, working with several unknown songwriters and successfully obtaining coverage by such artists as Diana Ross, Judas Priest, The Four Tops, Ullanda McCullough and Air Supply.During this period, Pang decided to set the record straight about her relationship with Lennon. Warner Books published her memoir, Loving John, in 1983. The book detailed her liaison and working association with the late Beatle and shed light on his relationships with his first son, Julian, as well as Paul McCartney, Ringo Starr and George Harrison.During the last two decades, Pang has appeared in every major news and magazine publication worldwide (NY Times, LA Times, Washington Post, The Daily News, UK's Mail On Sunday, Vogue online, Germany's Die Seite Drei, Marie Claire, People, etc.) and has been a guest on such national TV shows as Good Morning America, Howard Stern, Good Morning LA, CBS Sunday Morning, Court TV and Entertainment Tonight.Pang has also designed a unique collection of stainless steel Feng Shui jewelry and accent furniture. She has a weekly internet radio show with co-host Cynthia Neilson called Dinner Specials on BlogTalkRadio. Com. Pang continues her consulting work on music for films and is still an advisory board member of Women In Music. She also serves as an advisory board member, along with Julian Lennon, Jeff Bridges to name a few at the Amazon Conservation Team (ACT) organization. ACT deals with saving the rainforest and its indigenous people. This was started by world known ethnobotanist Dr. Mark J. Plotkin and conservationist Liliana Madrigal.In 2008, St. Martin's Press released Instamatic Karma, a collection of Pang's personal photographs of John Lennon. Fine art prints of these portraits have been exhibited in major galleries across the country.Also in the Fall of 2014, she released a book only for the German market called John Lennon & May Pang, Another Love. She had received numerous press coverage in some of Germany's largest newspaper publications.Pang has lectured and given talks at various events across the country including public libraries and most recently at Berklee College of Music in Boston sponsored in part by theLiberal Arts Dept. While there, she also lectured the John Lennon Songwriting class. She also gave a talk at The Rock & Roll Fantasy Camp in Las Vegas as a Special Guest Speaker.She has also been asked to be a guest speaker along with guests Donovan, Peter Asher, Pattie Boyd and others at The International Beatles Week 2015 in Liverpool this coming August.In this age of “social awareness”, Pang was asked to participate as an artist on a CD called: ALL ABOUT BULLIES…BIG AND SMALL. The CD won a Grammy for The Best Children's CD category in 2012.John Lennon: The Lost Weekend- Living, Loving and Making Rock & RollShe shared his life, his music and his love. She was his intimate companion during the time known as- THE LOST WEEKEND.May Pang was twenty-two. She was John and Yoko's personal assistant, a trusted member of their inner circle of carefully chosen friends and associates. She budgeted and contracted for their albums and became an invaluable part of their creative and personal lives.When John and Yoko separated, May was enlisted to care for John as he embarked on a period known as "The Lost Weekend" – an intense period of enormous creativity and violent self-destructiveness. She lived, worked, and fell deeply in love with Lennon.Together they shared a rocky romance, with Yoko waiting in the wings for John's return. This is her record of that time, a time when John was recording, seeing friends, exploring the world and confronting his own inner demons. It is a personal account written of life with Lennon by a woman who loved and was loved by one of the most fascinating creative men of our time. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

May Pang : John Lennon's Lost WeekendMonday Nov 9th 730 PM , May Pang is being honored with the Ambassador of Rock AwardLe Poisson Rouge 158 Bleeker St. NYhttp://rockersonbroadwayMay Pang, world-renowned confidant and companion of John Lennon, has been in the public eye for over three decades. Her career in the music industry spans over 40 years, beginning with Allen Klein's company, ABKCO Industries, the firm which managed the Beatles, Apple Corps. Ltd. and the Rolling Stones besides having an extensive music publishing catalogue which included songs by Sam Cooke.In 1970, Lennon and Yoko Ono hired Pang as their personal assistant. She would eventually become their production coordinator -- playing a key role in records by Lennon, Ono and Harry Nilsson. In 1974, Pang was awarded an RIAA Gold Album Award for her work on Lennon's Walls and Bridges, the #1 hit album which included his first and only #1 single in his lifetime, "Whatever Gets You Thru The Night." She can also be heard singing on "#9 Dream," the second single from the album.In the late 1970s working for Island Records, Pang coordinated all activities related to the release of albums by Robert Palmer, Third World, and Bob Marley and the Wailers. By the early 1980s, she was one of the leading professional managers in the music publishing industry, working with several unknown songwriters and successfully obtaining coverage by such artists as Diana Ross, Judas Priest, The Four Tops, Ullanda McCullough and Air Supply.During this period, Pang decided to set the record straight about her relationship with Lennon. Warner Books published her memoir, Loving John, in 1983. The book detailed her liaison and working association with the late Beatle and shed light on his relationships with his first son, Julian, as well as Paul McCartney, Ringo Starr and George Harrison.During the last two decades, Pang has appeared in every major news and magazine publication worldwide (NY Times, LA Times, Washington Post, The Daily News, UK's Mail On Sunday, Vogue online, Germany's Die Seite Drei, Marie Claire, People, etc.) and has been a guest on such national TV shows as Good Morning America, Howard Stern, Good Morning LA, CBS Sunday Morning, Court TV and Entertainment Tonight.Pang has also designed a unique collection of stainless steel Feng Shui jewelry and accent furniture. She has a weekly internet radio show with co-host Cynthia Neilson called Dinner Specials on BlogTalkRadio. Com. Pang continues her consulting work on music for films and is still an advisory board member of Women In Music. She also serves as an advisory board member, along with Julian Lennon, Jeff Bridges to name a few at the Amazon Conservation Team (ACT) organization. ACT deals with saving the rainforest and its indigenous people. This was started by world known ethnobotanist Dr. Mark J. Plotkin and conservationist Liliana Madrigal.In 2008, St. Martin's Press released Instamatic Karma, a collection of Pang's personal photographs of John Lennon. Fine art prints of these portraits have been exhibited in major galleries across the country.Also in the Fall of 2014, she released a book only for the German market called John Lennon & May Pang, Another Love. She had received numerous press coverage in some of Germany's largest newspaper publications.Pang has lectured and given talks at various events across the country including public libraries and most recently at Berklee College of Music in Boston sponsored in part by theLiberal Arts Dept. While there, she also lectured the John Lennon Songwriting class. She also gave a talk at The Rock & Roll Fantasy Camp in Las Vegas as a Special Guest Speaker.She has also been asked to be a guest speaker along with guests Donovan, Peter Asher, Pattie Boyd and others at The International Beatles Week 2015 in Liverpool this coming August.In this age of “social awareness”, Pang was asked to participate as an artist on a CD called: ALL ABOUT BULLIES…BIG AND SMALL. The CD won a Grammy for The Best Children's CD category in 2012.John Lennon: The Lost Weekend- Living, Loving and Making Rock & RollShe shared his life, his music and his love. She was his intimate companion during the time known as- THE LOST WEEKEND.May Pang was twenty-two. She was John and Yoko's personal assistant, a trusted member of their inner circle of carefully chosen friends and associates. She budgeted and contracted for their albums and became an invaluable part of their creative and personal lives.When John and Yoko separated, May was enlisted to care for John as he embarked on a period known as "The Lost Weekend" – an intense period of enormous creativity and violent self-destructiveness. She lived, worked, and fell deeply in love with Lennon.Together they shared a rocky romance, with Yoko waiting in the wings for John's return. This is her record of that time, a time when John was recording, seeing friends, exploring the world and confronting his own inner demons. It is a personal account written of life with Lennon by a woman who loved and was loved by one of the most fascinating creative men of our time. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

May Pang : John Lennon's Lost WeekendMonday Nov 9th 730 PM , May Pang is being honored with the Ambassador of Rock AwardLe Poisson Rouge 158 Bleeker St. NYhttp://rockersonbroadwayMay Pang, world-renowned confidant and companion of John Lennon, has been in the public eye for over three decades. Her career in the music industry spans over 40 years, beginning with Allen Klein's company, ABKCO Industries, the firm which managed the Beatles, Apple Corps. Ltd. and the Rolling Stones besides having an extensive music publishing catalogue which included songs by Sam Cooke.In 1970, Lennon and Yoko Ono hired Pang as their personal assistant. She would eventually become their production coordinator -- playing a key role in records by Lennon, Ono and Harry Nilsson. In 1974, Pang was awarded an RIAA Gold Album Award for her work on Lennon's Walls and Bridges, the #1 hit album which included his first and only #1 single in his lifetime, "Whatever Gets You Thru The Night." She can also be heard singing on "#9 Dream," the second single from the album.In the late 1970s working for Island Records, Pang coordinated all activities related to the release of albums by Robert Palmer, Third World, and Bob Marley and the Wailers. By the early 1980s, she was one of the leading professional managers in the music publishing industry, working with several unknown songwriters and successfully obtaining coverage by such artists as Diana Ross, Judas Priest, The Four Tops, Ullanda McCullough and Air Supply.During this period, Pang decided to set the record straight about her relationship with Lennon. Warner Books published her memoir, Loving John, in 1983. The book detailed her liaison and working association with the late Beatle and shed light on his relationships with his first son, Julian, as well as Paul McCartney, Ringo Starr and George Harrison.During the last two decades, Pang has appeared in every major news and magazine publication worldwide (NY Times, LA Times, Washington Post, The Daily News, UK's Mail On Sunday, Vogue online, Germany's Die Seite Drei, Marie Claire, People, etc.) and has been a guest on such national TV shows as Good Morning America, Howard Stern, Good Morning LA, CBS Sunday Morning, Court TV and Entertainment Tonight.Pang has also designed a unique collection of stainless steel Feng Shui jewelry and accent furniture. She has a weekly internet radio show with co-host Cynthia Neilson called Dinner Specials on BlogTalkRadio. Com. Pang continues her consulting work on music for films and is still an advisory board member of Women In Music. She also serves as an advisory board member, along with Julian Lennon, Jeff Bridges to name a few at the Amazon Conservation Team (ACT) organization. ACT deals with saving the rainforest and its indigenous people. This was started by world known ethnobotanist Dr. Mark J. Plotkin and conservationist Liliana Madrigal.In 2008, St. Martin's Press released Instamatic Karma, a collection of Pang's personal photographs of John Lennon. Fine art prints of these portraits have been exhibited in major galleries across the country.Also in the Fall of 2014, she released a book only for the German market called John Lennon & May Pang, Another Love. She had received numerous press coverage in some of Germany's largest newspaper publications.Pang has lectured and given talks at various events across the country including public libraries and most recently at Berklee College of Music in Boston sponsored in part by theLiberal Arts Dept. While there, she also lectured the John Lennon Songwriting class. She also gave a talk at The Rock & Roll Fantasy Camp in Las Vegas as a Special Guest Speaker.She has also been asked to be a guest speaker along with guests Donovan, Peter Asher, Pattie Boyd and others at The International Beatles Week 2015 in Liverpool this coming August.In this age of “social awareness”, Pang was asked to participate as an artist on a CD called: ALL ABOUT BULLIES…BIG AND SMALL. The CD won a Grammy for The Best Children's CD category in 2012.John Lennon: The Lost Weekend- Living, Loving and Making Rock & RollShe shared his life, his music and his love. She was his intimate companion during the time known as- THE LOST WEEKEND.May Pang was twenty-two. She was John and Yoko's personal assistant, a trusted member of their inner circle of carefully chosen friends and associates. She budgeted and contracted for their albums and became an invaluable part of their creative and personal lives.When John and Yoko separated, May was enlisted to care for John as he embarked on a period known as "The Lost Weekend" – an intense period of enormous creativity and violent self-destructiveness. She lived, worked, and fell deeply in love with Lennon.Together they shared a rocky romance, with Yoko waiting in the wings for John's return. This is her record of that time, a time when John was recording, seeing friends, exploring the world and confronting his own inner demons. It is a personal account written of life with Lennon by a woman who loved and was loved by one of the most fascinating creative men of our time. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Before these albums, Harry Nilsson was doing hard day's nightshifts at the bank as a computer operator. Then he became the man everybody's talkin' about with a little Help! from his friends John, Paul, George & Ringo who started dropping his name Here There and Everywhere.

GGACP celebrates the birthday of prolific singer-songwriter (and occasional actor) Stephen Bishop (b. November 14) by revisiting this memorable 2019 interview. In this episode, Stephen talks about secret song origins, Beatles trading cards, the glory days of Top 40, auditioning for Diana Ross and Smokey Robinson and chumming around with Burt Bacharach, John Belushi, Carrie Fisher and Harry Nilsson. Also, Bob Dylan hails a cab, Warren Beatty eats a bowl of chili, Gilbert swipes shampoo from Donald Fagen and Stephen and Linda Ronstadt cover “The Monster Mash.” PLUS: Frank Sinatra Jr! Praising Randy Newman! (and Jimmy Webb)! “Sex Kittens Go to College”! And Stephen cameos in “Animal House,” “The Blues Brothers” and “Kentucky Fried Movie”! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Goin Off Crew look at albums from Harry Nilsson (Mr. "Everybody's taaaalkin at me...") and the late great SOPHIE. Mues' Linktree: https://linktr.ee/mues RC's Linktree: https://linktr.ee/therealrapcritic

Andy Cahan is the most famous musician you've never heard of. Since the early 60s he has built an impressive resume recording with the likes of Jimi Hendrix, Ringo Starr and Harry Nilsson as well as playing keys for The Turtles and MD for the Grammy awards.   This is part 2 of the interview. So if you haven't listened to part 1 yet stop what you're doing and listen to episode #99 first - it will make more sense that way!     Episode sponsored by Make Noise Pro Audio https://makenoiseproaudio.co.uk/           Click below to open a Spotify playlist featuring some of the music from our guests. https://open.spotify.com/playlist/39vz6t8dhQYe6b1g1S2dFJ?si=c2af54607abd4302       If you have enjoyed this podcast, please don't forget to leave a review!     Find me on socials: Podcast: @thatrecordingpodcast Ringo Nerdery: @allyouneedisdrums or www.allyouneedisdrums.com Drum Sessions: @joemontaguedrums or www.joemontaguedrums.com

It's the 50th anniversary year of Ringo Starr's album Goodnight Vienna. With contributions from John Lennon, Elton John, Harry Nilsson, and many more, how does it compare to Ringo's popular self-titled album from the previous year? We do one of our patented track-by-track analyses of the album and discuss the packaging, personnel, and chart performance.  We also give you the latest Beatles news! Feel free to email or record a message to ivegotabeatlespodcast@hotmail.com and we'll include you in our "Please Mr. Postman" segment. Also, please rate us wherever you listen to your podcasts. Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com X: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!"

This week, hosts Reggie Worth and Jason Jefferies welcome special guest Scott Ballew, who discusses his new album Rio Bravo.  Topics of discussion include directing a film vs. recording an album, surrender, the heart, Bob Dylan, John Lennon and Harry Nilsson, Paul Thomas Anderson, whether people can change vs. whether people want to change, pandemic creativity, and much more.  Rio Bravo is a Listmas LOCK.  Happy Listening, friends!

Andy Cahan is the most famous musician you've never heard of. Since the early 60s he has built an impressive resume recording with the likes of Jimi Hendrix, Ringo Starr and Harry Nilsson as well as playing keys for The Turtles and MD for the Grammy awards.   Episode sponsored by Make Noise Pro Audio https://makenoiseproaudio.co.uk/           Click below to open a Spotify playlist featuring some of the music from our guests. https://open.spotify.com/playlist/39vz6t8dhQYe6b1g1S2dFJ?si=c2af54607abd4302   If you have enjoyed this podcast, please don't forget to leave a review!   Find me on socials: Podcast: @thatrecordingpodcast Ringo Nerdery: @allyouneedisdrums or www.allyouneedisdrums.com Drum Sessions: @joemontaguedrums or www.joemontaguedrums.com

El amigo secreto y Máximo Pradera se atreven con los primeros acordes de una de las canciones de Harry Nilsson más recordadas. Al ritmo de 'Civil War' (Breakers Roar - Sturgill Simpson) empezamos la mañana.

El amigo secreto y Máximo Pradera se atreven a versionar a Harry Nilsson, uno de los cantantes más extraordinarios de la historia del pop. La banda sonora de esta mañana empieza con Everybody's talkin'.

Season 4 kicks off with chatter about the band Speed, mysterious bruises, Ione's first trip to Brisbane,anarchism, "spannering", Radio Free Alice, Bicycle Day, the Steve Martin documentary, Ben's take on AI, our recent party for FVNERAL, Harry Nilsson's Aussie connection, and new music from Mallrat, Sycco, Amyl & the Sniffers and Illiuminati Hotties.Come visit our Substack at http://weirdertogether.substack.comfor deeper dives into all these subjects and more! Hosted on Acast. See acast.com/privacy for more information.

JagCore Professor of Jams Scott OKen is back to talk one of the all-time best bands you've never heard of: Badfinger. Known mainly for hits such as "Come and Get It", "No Matter What", and "Baby Blue", the story of this UK-based band is incredibly compelling (and tragic). We talk about Badfinger's deep connection with the Beatles, and how the band is named for the working title of a Beatles song. We dive into their first four albums, which are as good as any classic rock records from the early 70s. And we discuss their place in the Pantheon as well as the history of "power pop". And did you know that Harry Nilsson's "Without You" was written by Badfinger? Tune in for ultimate education!

Albums and All That, Starting with the letter S as in Sierra, Part 9 From Something to Shout About (Lulu) to Sophisticated Boom Boom (Dead or Alive) Oh hey, by the way... there is now a Vinyl-O-Matic Patreon (https://patreon.com/youroldpalwill) Lulu with The Luvvers [00:30] "Chocolate Ice" Something to Shout About Decca LK 4719 1965 Hey hey hey! It's Lulu! This is her debut album. Despite what you might guess from her voice, she was 17 when she recorded this album. "Chocolate Ice" is the excellent title song to the very weird Gonks Go Beat (https://youtu.be/XhozBIMplQA?si=ULHH1FdCqSWJPyJ5) (Hartford-Davis, 1964), featuring Lulu and The Luvvers, The Nashville Teens, and the Graham Bond Organisation Todd Rundgren [02:40] "Hello It's Me" Something / Anything? Bearsville 2BX 2066 1972 Rundgren's 3rd solo album, spreading his musical wings a bit more than previous releases. Todd had originally written the song as a very mellow ballad with the Nazz in 1967, and was released as a b-side (https://youtu.be/FmLnDL_pNZQ?si=enMwjWzgNe_iplus) to their psyche rocker "Open My Eyes". Usually I'd go with the power pop progenitor "Couldn't I Just Tell You (https://youtu.be/fosMLTCFKQ8?si=Dgn25DMa61xCFRbJ)", but well, I'm feeling more mid-tempo at the moment. Jimmy Buffett [07:29] "Cheeseburgers in Paradise" Son of a Son of a Sailor ABC Records AA-1046 1976 Let me be perfectly clear: I am not now, nor have I ever been a Parrot Head. However, I do love cheeseburgers. This is the lead single from Buffett's eighth solo album. The single made it to #32 on the Hot 100. There's also a much-watered-down version of "Livingston Saturday Night", which can be heard to greater effect (https://youtu.be/5uizFyDRxso?si=ZfVrun8krTdxzagG) on the Rancho Deluxe (Perry, 1975) soundtrack, see also: Season 5, Episode 76 (https://vinylomatic.com/s05e76). Harry Nilsson [10:20] "It Is He Who Will Be King/Daybreak" Son of Dracula Rapple Records ABL1-0220 1974 The only new Nilsson song on this soundtrack. The less said about the actual film. Count Downe (Nilsson) is invited to take over Count Dracula's throne by Merlin (Ringo Starr). Lots of monsters and lots of rock stars, including Keith Moon and John Bonham, Peter Frampton, Bobby Keys, Klaus Voorman, and Leon Russell. Watch at your own peril (https://youtu.be/IIik_o16sro?si=WvmR54QPJ16Qmd6s). Great packaging for the record though, includine a die-cut gatefold and an iron on transfer for the cover image with "Bite Me" written in goth script below. Julian Bahula's Jazz Africa [16:15] "Molebatsi" Son of the Soil Tsafrika Records TSA 001 1982 A great collective outing composed by this South African by way of Britain drummer/composer/bandleader. I picked this one up at Revolution Records in Amsterdam. If Google Translate isn't lying to me, this title translates to "Smoker" from Swati. And a smoker it is. The Temptations [21:46] "Shakey Ground" A Song for You Gordy G6-969S1 1975 One of several excellent P-Funk-backed tracks on this album. There's a pretty excellent Delbert McClinton version of this song as well (https://youtu.be/w7JCWoxtGLs?si=tLtnwaOT1j24Tgvy). The Exbats [25:47] "Like It Like I Do" Song Machine Goner Records GONE 192 2023 And boy do I like it! Another excellent outing from Bisbee AZ denizens Inez and Kenny and friends (https://youtu.be/l-Onx5zVfMs?si=OSeD0DJHPaOZ4NGW). They pretty much just keep getting awesomer and awesomer. Big Black [28:17] "L Dopa" Songs About Fucking Touch and Go T&G LP #24 1987 Scorching. And sadly, fare thee well, Steve. To anyone interested in recording, Steve and Electric Audio provided (and still provide) a wealth of information, as for instance: Everything you've ever wanted to know about tape alignment but were afraid to ask (https://youtube.com/playlist?list=PLXA7imybaTsFWOFpaeP8wgXNDlZ4Xc8yq&si=ZMsU_ifbEBbmp6Kh). THE FOLLOWING TRACK IS INTENDED FOR MATURE AUDIENCES. LISTENER DISCRETION IS ADVISED

Actor Paul Dooley joins Matt to talk about his roles as Wimpy in the 1980 film Popeye, as Jim Baker in the 1984 film Sixteen Candles, and a whole lot more. First, Paul discusses his approach to adapting the character of Wimpy, working alongside Robert Altman and Harry Nilsson, and improvising with his colleagues in their downtime. Then, we'll find out which line from Sixteen Candles was changed by Paul for the better before getting stories about everything from partnering with a very serious Max von Sydow in Strange Brew to Paul's voice work within the Cars franchise.This episode is sponsored by Netflix's You Can't Make This Up Podcast. Hosted on Acast. See acast.com/privacy for more information.

Actor Paul Dooley joins Matt to talk about his roles as Wimpy in the 1980 film Popeye, as Jim Baker in the 1984 film Sixteen Candles, and a whole lot more. First, Paul discusses his approach to adapting the character of Wimpy, working alongside Robert Altman and Harry Nilsson, and improvising with his colleagues in their downtime. Then, we'll find out which line from Sixteen Candles was changed by Paul for the better before getting stories about everything from partnering with a very serious Max von Sydow in Strange Brew to Paul's voice work within the Cars franchise.This episode is sponsored by Netflix's You Can't Make This Up Podcast. Hosted on Acast. See acast.com/privacy for more information.

Listener suggestions are rated on the Yachtski Scale, with songs by Cheryl Lynn, Amy Holland, and Harry Nilsson.

Chris Spedding is a Superstar British Guitarist. He's played and/or recorded with Paul McCartney, Elton John, Jack Bruce, Roger Daltrey, Harry Nilsson, Art Garfunkel, on the Jesus Christ Superstar album, and many others. He also produced the Sex Pistols.My featured song is my reimagined version of Cream's version of “I'm So Glad”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Chris at:www.chrisspedding.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

GGACP celebrates the recent release of actor-producer Griffin Dunne's book, "The Friday Afternoon Club: A Family Memoir" by revisiting this memorable interview from 2019. In this episode, Griffin talks about blending horror and comedy, teaming with Martin Scorsese and Sidney Lumet, the cynical cinema of Billy Wilder and the lives (and work) of Joan Didion and Dominick Dunne. Also, Jerry Lewis adapts Gore Vidal, Otto Preminger takes a bad trip, Griffin sneaks onto the set of “Gilligan's Island” and Tim Burton (almost) directs “After Hours.” PLUS: Howdy Doody! “Who's That Girl”! “The Panic in Needle Park”! The genius of Harry Nilsson! And the artistry of GGACP guest Rick Baker! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nate returns to talk about his gig this past weekend at Tex Mex Connection and his recent appearance on the Your Next Favorite Band podcast before sitting down to chat with singer/songwriter/filmmaker Paige Stark. They start things off bonding over a mutual love of Harry Nilsson and David Bowie before diving in to growing up in Laguna Beach, how MTV was a gateway to a love of music and film, finding inspiration in Lisa Simpson, songwriting and her first solo show, Stone Darling, singing with Taylor Goldsmith and Alex Greenwald, singing harmony, Tashaki Miyaki, Takashi Miike, genre films, her upcoming Film Independent backed short, The Other Side, keeping "office hours," the Love LA compilation, collaborating with Marc Maron, cover songs, the Tashaki Miyaki cover of "The Beautiful Ones" by Prince, working with Jon Brion on the Good At Love EP and the plan for the new record. Then, Paige braves The Jawntlet! Paige Stark websitePaige Stark BandcampTashaki Miyaki BandcampPaige Stark InstagramPaige Stark Instagram (film)Paige Stark YouTubePaige Stark TikTokPaige Stark Facebook Subscribe to the Y!TMJ Newsletter! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ytmj/message Support this podcast: https://podcasters.spotify.com/pod/show/ytmj/support

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