Podcasts about Harry Nilsson

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

It was the end of the day. Fred Neil just wanted to go home but the record company people needed one more song. He wrote Everybody's Talkin' in 5 minutes, recorded it in ONE TAKE, and went home. Since the song's release in Dec. 1966, it's been covered and recorded by well over 300 artists in 17 languages. If you'd like to support the Dolphin Project:https://www.dolphinproject.org/donate/If you'd like to support the show our merch store is here:igotasongswapmeet.bigcartel.com

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin BendisNeed to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin Bendis Hosted on Acast. See acast.com/privacy for more information.

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin Bendis Hosted on Acast. See acast.com/privacy for more information.

Hello Excellent round-heads! Hunter's mom, Lynette returns to Hate Watch/Great Watch to discuss a favorite animated film from Hunter's childhood (that he has no recollection of)! We talk about Harry Nilsson, children's books, and how Lynette once met the God of Raccoons! Plus: It's illegal to cut open a rugby player in Singapore! Go straight, listener! You've got ‘em wired! We're talking The Point (1971)! Questions, comments, requests? Write us at: WriteHWGW@gmail.com

By the late 60s, Harry Nilsson's songs had a way of showing up everywhere, from TV and movies to other people's hit records. However, it was 1971's Nilsson Schmilsson that finally scored him a bona fide hit album, spawning three hit singles and a Grammy win. The record holds the unique status of being Harry's most focused and disciplined album while still featuring an idiosyncratic range of styles including hard rock, power ballads, and oddball novelties. All of these genres are effortlessly held together with one of the best voices in the business. Join Dan, Amanda, and Rich as they put the lime in the coconut and discuss the man, the legend, and the group himself.  Cohosts: Dan Watkins, Rich Bunnell, Amanda Rodgers Complete show notes: https://discordpod.com/listen/174-harry-nilsson-nilsson-schmilsson-1971 Discord & Rhyme's merch store: http://tee.pub/lic/discordpod Support the podcast! https://www.patreon.com/discordpod

Today we become the best Harry Schilsson podcast even if we really like his son! We play a fun parody song, talk about taking your kids to a concert, people sitting in the back (I didn't realize they were kids he was talking about) and Russell gets a new obsession. Then we listen to one of the most beautiful songs of all time and the. The coconut song song comes on.  Next week we have Frank Sinatra, in the wee small hours.

We love this album like any kid loves cake. We start this episode by giving Aaron a choice of a lifetime and then move on to talk about the point of sports, songs that seems old as hell, massage issues and the heartbreak of defeat.    Then we put the hammer down and listen to what might be the biggest songs of our lifetimes and an album we really enjoyed.  Next week we are talking Harry Nilsson and Nilsson Schmilsson

What happens when a Beatle walks into the room?In this highlight from my full interview with Barry Greenfield—author of All You Need Is Courage—he shares a true story from 1968 that says everything about the presence of Ringo Starr. Barry was in the studio with Harry Nilsson when suddenly… everything changed.But that's where reality meets imagination.Barry really did audition for Apple Records in 1968—and turned down the chance to be a performer because he wanted to be a songwriter. His book explores the ultimate “what if”: what would have happened if he said yes?This clip captures the moment that inspired it all—when the energy in the room shifted, and nothing else mattered.Listen to Episode 377 - 1968: When Courage Met Opportunity at Apple Records - With Barry Greenfield

Gilbert and Frank visit the George Burns Room at the historic New York Friars Club, where they're joined by actor, singer and musician Micky Dolenz for a fun and fascinating look back at “Monkeemania” and his own unlikely journey from 1950's child star (“Circus Boy”) to 1960's pop/rock icon. Also, Micky drops in on a “Sgt. Pepper” recording session, makes movies with Jack Nicholson and Frank Zappa and hits the town with fellow “Hollywood Vampires” John Lennon, Keith Moon and Alice Cooper. PLUS: Lon Chaney Jr.! Micky's mom meets “The Creeper”! The Monkees take on “Faust”! Harry Nilsson quits his day job! And Sgt. Bilko sings “Yesterday”! Learn more about your ad choices. Visit megaphone.fm/adchoices

We loved interviewing Debra Curtis about her debut novel book, LAWS OF LOVE AND LOGIC. Debra is fresh from her appearance on the Today Show and a dinner honoring her thrown by Jenna Bush Hager. Debra tells us the idea of writing a novel snuck up on her in her 50s. The story of these two sisters, Lily and Jane, was influenced by Debra's experience as a sister and as the mother of twin sisters. The book explores how supposedly contrary ideas can be held simultaneously, like a belief in science and in God; the importance of being a strong woman, and of finding a good man; and of seeking social justice, and finding personal meaning.Debra tells us about her journey to becoming a published author and how a Massachusetts psychic and a Parisian sculptor led her to her agent Felicity Blunt. LAWS OF LOVE AND LOGIC has a lot of literature, but also music. Debra says music is important to her and she listens to music, over and over for days, when she's writing. Before we know it, we're all singing Harry Nilsson's WITHOUT YOU.

We loved interviewing Debra Curtis about her debut novel book, LAWS OF LOVE AND LOGIC. Debra is fresh from her appearance on the Today Show and a dinner honoring her thrown by Jenna Bush Hager. Debra tells us the idea of writing a novel snuck up on her in her 50s. The story of these two sisters, Lily and Jane, was influenced by Debra's experience as a sister and as the mother of twin sisters. The book explores how supposedly contrary ideas can be held simultaneously, like a belief in science and in God; the importance of being a strong woman, and of finding a good man; and of seeking social justice, and finding personal meaning.Debra tells us about her journey to becoming a published author and how a Massachusetts psychic and a Parisian sculptor led her to her agent Felicity Blunt. LAWS OF LOVE AND LOGIC has a lot of literature, but also music. Debra says music is important to her and she listens to music, over and over for days, when she's writing. Before we know it, we're all singing Harry Nilsson's WITHOUT YOU.

Co-founder and former Three Dog Night frontman Chuck Negron (1942-2026) discusses the collectible records of his career, the early releases on small labels, the rare and recalled albums of Three Dog Night and mega-smash excesses and turnaround of his life and career. Interview from July 2022 Topics Include: Chuck's autobiography Three Dog Nightmare . Basketball was first passion growing up in Bronx schoolyards. Made first record "Oh Baby" in 1958 at age fifteen. Early releases on tiny Bronx Records label extremely rare today. Progressed through Rondelles, Marlinda, and Heart Van regional California labels. "I Dream of an Angel" became regional hit across central California. Columbia Records offered deal while playing college basketball at Hancock. Chose to finish basketball season, damaging initial Columbia Records excitement. Learned hard lesson about commitment after squandering early industry enthusiasm. Bill Sharman offered Cal State LA scholarship but chose music. Left school permanently, ending high-level basketball career for music industry. Three Dog Night formed with three lead singers sharing spotlight. Band's strategy: find great songs, not write them themselves exclusively. "One" by Harry Nilsson became breakthrough hit launching massive success. Achieved 21 consecutive Top 40 hits selling over 60 million records. "Joy to the World" became worldwide number one, band's biggest success. "Black and White" addressed racial integration as mainstream social statement message. Hard Labor's controversial birthing cover recalled after hundreds of thousands distributed. Now hosts weekly WhatNot show selling rare Three Dog Night collectibles. At 80, credits basketball training for vocal stamina and survival. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

The tenth episode of our season on the awesome movie year of 1971 features our animation pick, Fred Wolf's The Point. Directed, animated and co-written by Fred Wolf and starring the voices of Mike Lookinland, Paul Frees, Lennie Weinrib, Bill Martin and Joan Gerber, The Point features songs from Harry Nilsson's album of the same name.The contemporary reviews quoted in this episode come from Kevin Thomas in The Los Angeles Times, Rick Du Brow of United Press International, and Lou Cedrone in The Baltimore Evening Sun.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen: https://www.patreon.com/bydavidrosenPlease like, share, rate and comment on the show and this episode, and tune in for the...

One of the best music documentaries I have every seen. And not just because he is my favorite singer. Who Is Harry Nilsson? (And Why Is Everybody Talkin' About Him) (2006) - Blu-Ray ROCKFILE Podcast 927 #whoisharrynilsson #moviereview #rockfile  ~ You can subscribe to my podcasts on Podbean, Spotify, Apple Podcasts, iTunes, Amazon Music/Audible, Google Podcasts, YouTube, iHeart Radio, Pandora, TuneIn, Alexa, Player FM, Samsung, Podchaser, Stitcher, Boomplay, Overcast, Pocket Cast, Castro, Castbox, Podfriend, Goodpods, Deezer and more. ~ -Social Media Group:  https://www.facebook.com/groups/rockfilesroom -Official Website:  https://therockfile.com/ -YouTube channel:  https://www.youtube.com/@rockfile -Interview Archive:  https://therockfile.com/Interviews/    ~ Music from #Uppbeat https://uppbeat.io/t/enrique-molano/ants-carnival License code: IV5M5EGLBEBSNUDV  ~ Note: the static pictures in my movie reviews are NOT screen captures. I am not set up to do that yet but one day I hope to be.  

Barry Greenfield began his musical ride in 1965 when he was just 15 years old. Over the subsequent decades, Barry has become a greatly appreciated, old-school, singer songwriter, with three number one records, twenty-five plus covers, and life as a touring musician and storyteller. He actually walked away from the music business in the mid-70s saying, “it's not for me,” and yet he remained a dedicated songwriter and performer, releasing twelve LP's while sharing his music with audiences everywhere.   Barry's autobiography, My Journey to Blue Sky, was recently published by New Haven Publishing. It covers the intimate details of his professional years, including, standing on the shoulders of various giants that he has known or worked with, like Cher, John Lennon, Larry Carlton, Supertramp, Kenny Rogers, Harry Nilsson, 10cc, and more. Barry's classic album, Blue Sky, released by RCA, has reached its 50th anniversary. And now with his book, Barry reveals the life changing experiences he received while attending the ‘music school' of the real world in those halcyon days of 1963 to 1975. Barry learned everything by listening, watching, and questioning. Please be sure to stick around at the end of the show for a very special treat.  Barry has graciously lent us his powerful hit song, “New York is Closed Tonight.,” which we'll play for everyone to enjoy.  After 9/11, CNN played “New York is Closed Tonight,” juxtaposed to what was happening to the twin towers. 

Send us a textWe close out our “Power of Music” theme with Robert Altman's 1980 musical extravaganza Popeye, starring Robin Williams as the titular sailor man who arrives in the town of Sweethaven searching for his long lost pappy. Karl had the added shakeup that his pick had to take place in a single location, and the aforementioned town of Sweethaven suits that perfectly. Joining Popeye on his adventure is Shelley Duvall as Olive Oyl and the large and mean Bluto, played by Paul Smith. We also discuss the history of Popeye, how effectively we feel comic strips translate to live action, and why Karl won't shut up about the greatness of Harry Nilsson. And of course spinach…we talk about spinach. 

"Whatever Jen Agg says is worth listening to," said Anthony Bourdain. I fully agree! If you live in Toronto you probably know Jen Agg. If you don't, let me tell you she runs the best restaurants in town! Come visit and try them! Her most recent stunner is a two-story converted auto-body shop turned Toronto Life #1 ranked restaurant called "​General Public​" and it is a feast for the senses. Jen describes the place as "part Narnia, part fancy British pub, and part '80s cocaine dream" which gives you a sample of her incredible way with words on top of dishes on top of lighting on top of music on top of ... vibe. I was at General Public last week with my friend Agostino and we split Rainbow Trout Tartare, Hiramasa Crudo, Chicory Salad, and Popcorn Clams and Mussels. And those were just our appetizers! And precisely none of the items fully described the depth of surprising and fresh ingredients leading to the full-body sensory experiences we had when taking our first bites... Jen Agg has opened many other award-winning restaurants including ​Bar Vendetta​, ​Grey Gardens​, ​Le Swan​, ​Rhum Corner​, ​Hoof Cocktail Bar​ and, famously, The Black Hoof (RIP), where I still remember my friend Drew ordering a Spicy Raw Horse Sandwich with raw egg on top many years ago. His verdict? "Delicious!" Of course that place turned the restaurant scene in the city sharply sideways! And sharply sideways is such a great way to live... I admire Jen Agg's sharply sideways ways and also highly recommend her bestselling memoir “​I Hear She's A Real Bitch​” (perhaps the best memoir title of all time?) Now there is of course no where else to sit down with Jen than one of her restaurants so for this one we slip into the front booth at the delectable "french diner" that is ​Le Swan​. Btw, if you go you might find yourself making a new Spotify playlist like I did to remember the great music you're hearing—"Ooh la la" by Ronnie Lane followed by "My Sweet Lord" by George Harrison followed by "Everybody's Talkin'" by Harry Nilsson followed by "Tangled Up In Blue" by Bob Dylan! Of course it's hard to pay attention to the music when you're gobbling Smoked Trout Rillette, Steak Tartare, and the city's best Corn Dogs! Let's sit down and talk about fussiness as a virtue, the art of dining alone, having a healthy marriage with someone much older than you, the brilliant Jen Agg's 3 most formative books, and much, much, MUCH more... It was an honour and privilege to talk to Jen Agg in this classic chapter of 3 Books.

Baxie speaks with the legendary Chris Spedding! For the last 50 years Chris has been one of the most prolific and respected guitarists in UK history. Chris has not only released 14 solo albums since 1970, he's also played on hundreds and hundreds of sessions for some of music's most important artists. It's a list that includes Paul McCartney, Elton John, Jack Bruce, Brian Eno, Joan Armatrading, Harry Nilsson, The Pretenders, and Bryan Ferry (both with and without Roxy Music)! He's also the guy who produced the very first demos for the Sex Pistols! Just amazing! Listen on Apple Podcasts, YouTube, Spotify, and on the Rock102 app! Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee!

Shifting the pass-the-parcel of news and removing the wrapping when the music stops. Which this week happens here … … will rock bands get offered the Saudi money? … “there could be no British nightclubs in 2030” … Diane Keaton and why all men were besotted … the day Led Zeppelin played an Aqua Theatre for an audience swimming and in boats … “the optimum number of band members is either three or loads” … did Easy Rider invent the music video? … Trainspotting, Reservoir Dogs, Midnight Cowboy, Almost Famous – soundtrack moments that made their movies … 12 million more UK tickets were sold than in 2019 yet 150 small venues closed in two years: “scale is now part of the appeal” … the genius of John Sebastian … the end of MTV UK and how video changed the landscape … “Here's to you Mrs Roosevelt”: how Simon & Garfunkel got into the Graduate … can anyone fathom Ghost Town Blues by Prefab Sprout? Plus Tim Hardin, Harry Nilsson and birthday guest Matthew Elliott on why three is the magic number.Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Shifting the pass-the-parcel of news and removing the wrapping when the music stops. Which this week happens here … … will rock bands get offered the Saudi money? … “there could be no British nightclubs in 2030” … Diane Keaton and why all men were besotted … the day Led Zeppelin played an Aqua Theatre for an audience swimming and in boats … “the optimum number of band members is either three or loads” … did Easy Rider invent the music video? … Trainspotting, Reservoir Dogs, Midnight Cowboy, Almost Famous – soundtrack moments that made their movies … 12 million more UK tickets were sold than in 2019 yet 150 small venues closed in two years: “scale is now part of the appeal” … the genius of John Sebastian … the end of MTV UK and how video changed the landscape … “Here's to you Mrs Roosevelt”: how Simon & Garfunkel got into the Graduate … can anyone fathom Ghost Town Blues by Prefab Sprout? Plus Tim Hardin, Harry Nilsson and birthday guest Matthew Elliott on why three is the magic number.Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Shifting the pass-the-parcel of news and removing the wrapping when the music stops. Which this week happens here … … will rock bands get offered the Saudi money? … “there could be no British nightclubs in 2030” … Diane Keaton and why all men were besotted … the day Led Zeppelin played an Aqua Theatre for an audience swimming and in boats … “the optimum number of band members is either three or loads” … did Easy Rider invent the music video? … Trainspotting, Reservoir Dogs, Midnight Cowboy, Almost Famous – soundtrack moments that made their movies … 12 million more UK tickets were sold than in 2019 yet 150 small venues closed in two years: “scale is now part of the appeal” … the genius of John Sebastian … the end of MTV UK and how video changed the landscape … “Here's to you Mrs Roosevelt”: how Simon & Garfunkel got into the Graduate … can anyone fathom Ghost Town Blues by Prefab Sprout? Plus Tim Hardin, Harry Nilsson and birthday guest Matthew Elliott on why three is the magic number.Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Just in time for Spinal Tap 2: Ed Begley Jr. is our very first TMEP Show guest who actually appeared in "This Is Spinal Tap." In Ed's memorable scene, he shows up as Spinal Tap's original drummer John “Stumpy" Pepys looking like Buddy Holly behind the kit -- instant classic. Begley tells us about the time Harry Nilsson surprised him with a dinner invitation at John and Yoko's place at The Dakota; smoking a J with Charles Manson; and, of course, how filming a “test scene” that actually ended up getting use in the movie led to him being enshired in Spinal Tap lore. In this short VIDEO, Ed describes that homecooked meal with the Lennons. WATCH HERE: Ed on IG (Ed replies to DMs!): @ed_begley_jr Find Ed's book at Powell's Books: "To the Temple of Tranquility...And Step On It!: A Memoir" https://www.powells.com/book/to-the-temple-of-tranquilityand-step-on-it-9780306832109 --- ***http://distrokid.com/vip/tmep*** Too Much Effing Perspective is supported by DISTROKID - the best way for Musicians, Songwriters, Producers, DJs to get their original music into Spotify, Apple, TikTok, and all the major platforms. Get 30% OFF your first year subscription to DISTROKID at this special link. ***http://distrokid.com/vip/tmep*** --- Get in touch with Too Much Effing Perspective Contact us: hello@tmepshow.com Website: https://tmepshow.com Social: @tmepshow Learn more about your ad choices. Visit megaphone.fm/adchoices

Grammy Award-winning guitarist Peter Frampton will perform “Baby, I Love Your Way” on “Conan” February 29. The performance celebrates the forthcoming release of his new album Acoustic Classics, due February 26 via RED Distribution. In addition, a new live video of Frampton performing the song with longtime collaborator Gordon Kennedy is premiering on The Huffington Post today [insert link]. For the first time ever, Frampton brings us stripped-down versions of his classic hits including “Lines On My Face,” “Do You Feel Like I Do,” “Show Me The Way” and more. Acoustic Classics also includes one new song, “All Down to Me,” which was co-written by Kennedy, who also co-produced Frampton's Grammy Award-winning album Fingerprints. “All Down to Me” is also the only track on the record that features a guest musician. See below for full track listing.The new album was mixed by Grammy Award-winning engineer Jeff Balding (Don Henley, Lionel Richie, Joe Cocker) and produced by Frampton himself. Of the recording process, Frampton explains, “The approach I took on this was that each song came across as if you are the first person to hear this song after I wrote it. I had to reverse engineer each song in order to get this result, which I feel I achieved.”Acoustic Classics is available for pre-order now and a special pre-order bundle is being offered exclusively on www.frampton.com, which includes the album, a pick set and signed lyric sheet. Frampton will also perform on DirecTV and AT&T's new weekly music program, the Audience Network, March 4. The programming will be available to both subscribers of DirecTV and AT&T U-Verse and the two platforms' mobile apps.Moreover, Frampton has extended his “Peter Frampton Raw, An Acoustic Tour” with more dates next month. Kennedy will join him again for the March run along with Frampton's son, singer and guitarist Julian Frampton. Peter Frampton remains one of the most celebrated artists and guitarists in rock history. At 16, he was lead singer and guitarist for British band the Herd. At 18, he co-founded one of the first super groups, seminal rock act Humble Pie. His session work includes collaborations with such legendary artists as George Harrison, Harry Nilsson, David Bowie, Jerry Lee Lewis, Ringo Starr, John Entwistle and many others. His fifth solo album, the electrifying Frampton Comes Alive! is celebrating its 40th anniversary this year and remains one of the top-selling live records of all time. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this episode of LEGENDS: Podcast by All Day Vinyl, host Scott Dudelson (and his 8 year old daugher, Elsie) welcomes Rock and Roll Hall of Fame inductee Belinda Carlisle of The Go-Go's for a conversation about her remarkable journey through music and her brand-new covers album Once Upon a Time in California. This project revisits the golden age of late 1960s and early 1970s singer-songwriters, with Belinda reinterpreting timeless classics that first inspired her as a young listener. She shares how California radio shaped her early love of melody, why songs like “Reflections of My Life” carry deep emotional meaning, and how the artistry of writers such as Harry Nilsson left a lasting mark on her. Belinda also reflects on her surprising leap from those melodic pop influences into the gritty punk scene, recalling her early days with the Germs and the explosive energy that fueled the Go-Go's. She discusses how the band's unique blend of punk urgency and pop craftsmanship turned them into one of the defining forces of the 1980s, paving the way for a groundbreaking career that continues to inspire generations. The conversation spans Belinda's solo success following the Go-Go's, the unforgettable experiences of her early live shows, and her induction into the Rock and Roll Hall of Fame — a moment that celebrated her enduring influence. Belinda also offers a look at her current touring projects and gives listeners insight into her passionate animal welfare work through the Animal People Alliance, an organization dedicated to supporting street animals. Join us for a thoughtful, wide-ranging conversation with one of rock and pop's most enduring voices. If you enjoy this episode, please subscribe, rate, and follow us on Instagram and YouTube at @alldayvinyl for more stories from the artists who defined music history.

Tyler Ballgame is a modern savant. On his four released tracks, there's a sweeping melancholy underpinned by the haunting beauty of Roy Orbison or wry-smiled dreamy Harry Nilsson. In this chat, Tyler talks of Shakespeare inspiration, studying songwriting Berkeley but never successfully shaking the idea that he was an outsider, and blagging a job interview that transplanted him on the other side of the country - where he started his new life, and now, career. Get yourself some top class Shure microphone gear: https://shu.re/3YhV7p2 DistroKid makes music distribution fun and easy with unlimited uploads and artists keeping the ENTIRETY of their revenue. Get 30% off the first year of their service by signing up at https://distrokid.com/vip/101pod Learn more about your ad choices. Visit megaphone.fm/adchoices

Shooter Jennings reveals the story of hundreds of unreleased recordings his father Waylon made between 1974-1984, including stunning covers now being released as "Songbird" - plus more musical stories from the lives of the Jennings family. Order the new "Songbird" LP here. Topics Include: Shooter Jennings discusses upcoming Songbird release featuring his late father Waylon's unfinished recordings Most songs were actually complete with vocals and instruments already recorded professionally Waylon privately recorded after 1974 RCA battle, keeping hundreds of tapes unlabeled Tapes digitized in 2008 but sat untouched until Shooter systematically catalogued everything recently Discovery process was emotional journey revealing Waylon's constant studio experimentation and joy Found treasure trove including Fleetwood Mac's "Songbird" cover and multiple complete albums worth Shooter mixed everything on vintage 1976 analog console maintaining authentic original sound Three planned album releases starting with Songbird, featuring different themes and flavors Tony Joe White plays harmonica, Jessi Colter sings, original band members returned Cataloging required detective work, Googling lyrics, consulting surviving band members for identification Growing up as Waylon's son meant different childhood, touring summers, recognizing fame Family record collection included Beatles, Harry Nilsson, later Waylon bought entire collections Teenage Shooter brought home Nine Inch Nails, Nirvana; parents showed concern but support Waylon's deep friendship with Buddy Holly, plane crash guilt haunted him for years Eventually found closure visiting crash site, could finally look at wreckage photos Parents advised being authentic, not copying others; mother worried about rough crowd Shooter's career shows risk-taking from country to experimental electronic and industrial music Produced diverse artists from Duff McKagan to Marilyn Manson, always seeking creative challenges Early collaboration with father on Fenixon project mixed country with industrial influences Vinyl remains important, frequent Amoeba Records visits, special Record Store Day releases planned Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Helen and Gavin chat about Wednesday, Alien: Earth, Nobody 2, and Higher 2 Lower, and it's Week 15 of the list of Grammy Record of the Year Winners from 1973, which will be picked from Song Sung Blue by Neil Diamond, The First Time Ever I Saw Your Face by Roberta Flack, American Pie by Don McLean, Without You by Harry Nilsson, and Alone Again (Naturally) by Gilbert O'Sullivan.

Join us this week for a whole spectrum of Rambleness. The boys start with Adam Sandler movies and the Harry Nilsson documentary. Matt brings up Alien: Earth and the ageless Kyle Chandler. Chris thinks he understands Nick's rating system. Jack watches The Pickup and The Naked Gun which leads into a conversation about Eddie Murphy and popcorn! Travels from Australia to the Moon!!! Alternate History to The BOMB. And lastly Matt and Chris discuss the What Not App.Please leave a review on iTunesBecome a Patron at JayandJack.comWrite us an email at RCADCast@gmail.comFollow us on Instagram at RCADCast

Join us this week for a whole spectrum of Rambleness. The boys start with Adam Sandler movies and the Harry Nilsson documentary. Matt brings up Alien: Earth and the ageless Kyle Chandler. Chris thinks he understands Nick's rating system. Jack watches The Pickup and The Naked Gun which leads into a conversation about Eddie Murphy […]

Join us this week for a whole spectrum of Rambleness. The boys start with Adam Sandler movies and the Harry Nilsson documentary. Matt brings up Alien: Earth and the ageless Kyle Chandler. Chris thinks he understands Nick's rating system. Jack watches The Pickup and The Naked Gun which leads into a conversation about Eddie Murphy and popcorn! Travels from Australia to the Moon!!! Alternate History to The BOMB. And lastly Matt and Chris discuss the What Not App.Please leave a review on iTunesBecome a Patron at JayandJack.comWrite us an email at RCADCast@gmail.comFollow us on Instagram at RCADCast

In a very special edition episode of IWOL we are joined by esteemed guest Nathaniel Rateliff. In addition to being a powerful force of nature on the stage performing his own music with the Night Sweats, Nathaniel can boast that he is the only man, besides Harry Nilsson, to attempt the extremely challenging repertoire of songs that make up Harry's God-like masterwork "A Little Touch Of Schmilsson In The Night". So we ask you, who better to come on and talk about this music? Just about no one. 

Ben Cook-Feltz is back! This time, he's got a brand new release. A song-for-song re-creation of Harry Nilsson's 'Son of Schmilsson' (out today!). He has a big release party/concert at The Parkway on 8/10, featuring a truly stellar line-up. Here, we talk about the process and the result. Enjoy!

Every record collector has a secret stash of weird LPs, a bizarre stack of wax tucked away for safe keeping. The return of Lightning Licks Radio brings those strange selections out of the darkness of the basement and into the brightness of our turntables. Special guest Licker Jordan Pries, coproprietor of our local record store of choice Electric Kitsch, brings some stunning sonic oddities to the discussion. Let's get weird, Podcast America.Sonic contributions to the RETURN OF LIGHTNIN' LICKS RADIO podcast, episode forty-four, include: N.P.R. Please support National Public Radio. Beastie Boys, James Todd Smith, Too Poetic, Method Man, The Gravediggaz. Bobby Hebb, John Ussery, Brothers Johnson, De La Soul, Prince Paul, M.C. Eight, Redman, Migos. Eminem, Yelawolf, Wild Style, Lawrence Welk, Jo Ann Castle, Eddie Van Halen, Marcy Tigner, Benny Chong. Alain Goraguer, Madlib, Jay Dilla.Denzel Curry, Serge Gainsbourg. Inner Circle, Homeboy Sandman, John Wayne, Trey Parker, Matt Stone, John Mitchum, random standard USA patriotic marches. Public Enemy, Pete Seger, Hump the Grinder, Curtis Gadson, Sandy Bull, Homer Croy. Frank De Vol, Christopher Knight, Barry Williams, Susan Olsen, Mike Lookinland, Robert Reed, Florence Henderson, John Fahey. Arc of All, Abraham Jefferson, Errol Paul Reid, Ern Westmore, Recordings from the K.P.M. archives, Peter Thomas, Ronald Frank, Simon George Begg, A. P. Gall, Curtis Mooney, Alex Heffes. Francis Shaw, Keith Mansfield, Arch E. Roberts, Donald J. Trump & his J6 insurrectionists, Tony Kinsey, George Fenton, Kenneth Freeman. Louis Ridgway, Wayne Fischer, Hank Williams, John Weissrock, various Christian organ standards and hymnals, The Langley Schools Project, Brian Wilson, D.J. Shadow. The Doug Wood Band, The Titans, The Larks, Ru Paul, Joe Maphis, Z.Z. Top, The Del Vikings, rad sound effects of drag cars, go-karts, and speed boats. The De-Fenders, random archived educational films, Massive Internal Complications, The Doors, The Doobie Brothers, Nicolette Larson, The Templeton Twins with Teddy Turner's Bunson Burners, Blood Sweat and Tears, The Beatles, Jose Feliciano, Bob Crewe and Bob Gaudio's Four Seasons with Frankie Valli, Harry Nilsson. Electric Light Orchestra, The Lustful Sex Life of a Perverted Nympho Housewife, heart recordings, Kesha, John Burt & Dave Corbin, Doctors Jack and Rexella (Oh, Rexella!) Van Impe, Robin Williams, Johnny Carson, X.T.C., Dusty Springfield, Adrian Quesada, The Source of Light and Power, The Clockers, The Outlaw Blues Band, Cheech & Chong, and Childish Gambino.The mixtape is bananas. Good fucking luck.A) Vroom-Vroom. Insects. Jesse James. Gospel Train. Beauty Exercises. John Wayne's Amerikkka.B) The United Nations & the New World Order. Sex & Rock-N-Roll. Light My Fire. Church Organ. Drugs. Fin.WATCH La Planette Sauvage ON VIMEO HEREListen to the mixtape on Soundcloud here! (if necessary)

All the way from Sydney, Australia we are joined by Singer/Songwriter and Harry Nilsson enthusiast, Ben Lee. Ben requested an album he didn't know too well so we tackled "Duit On Mon Dei", the first offering from Harry's post Pussycats "Chaos Trilogy". 

Er liebt sie alle: die Grosse und die Chliiine, die Dicke und die Dünne... nein, wirklich! Mit seinem vierten Soloalbum orientiert sich der sonst ziemlich laute Garage-Rocker an Fleetwood Mac, Harry Nilsson und weiteren smoothen Tönen aus Kalifornien. Love is in the Air!

Bret McKenzie now mainly works on movie soundtracks, the Simpsons, Minecraft and the Muppets among them, which brings the pure delight of hearing his songs sung by Lady Gaga, Benedict Cumberbatch, Miss Piggy and Tony Bennett. He talks here about his early life in Wellington (ballet teacher Mum, racehorse trainer Dad), narrative comedy, songwriting heroes and his new album Freak Out City, and unravels New Zealand's double-edged sense of humour. Along with … … how Randy Newman pitches songs for soundtracks … “the test of a good song works is if it works with just one instrument” … lyrics he loved growing up like 16 Tons by Tennessee Ernie Ford – ‘Some people say a man is made out of mud/ A poor man's made out of muscle and blood' … Morrissey's wounded reaction to his sausage-firing Quilloughby on the Simpsons ‘Panic On The Streets Of Springfield' ... solving the “fun puzzles” of a song brief and writing for “donkeys who have a dream” … the ingenious humour of John Prine, Harry Nilsson and Leonard Cohen … the moment in his live shows where he asks the audience for a story and creates a song around it – “one woman suggested ‘falling out of love' with her husband standing right beside her” ... playing the local girls schools aged 15 as the drummer in a James Brown funk band … reworking rejected songs – “which was hard with one from Paddington with its multiple rhymes for marmalade and Peru” … Flight Of The Conchords lampooning the acts they loved (Bowie, Pet Shop Boys) and playing the O2 – “pretending to be a stadium band and the audience pretending to be a stadium audience” … live on-stage application of the John Lennon “pomegranate” lyric-solving technique … “Play like a used car salesman! I need a Steely Dan solo here!” Recording with LA session legends like Leland Sklar. Order Bret's ‘Freak Out City' album here: https://music.subpop.com/bretmckenzie_freakoutcityFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Tour dates and tickets …https://www.ticketmaster.co.uk/bret-mckenzie-tickets/artist/5380913 Hosted on Acast. See acast.com/privacy for more information.

Bret McKenzie now mainly works on movie soundtracks, the Simpsons, Minecraft and the Muppets among them, which brings the pure delight of hearing his songs sung by Lady Gaga, Benedict Cumberbatch, Miss Piggy and Tony Bennett. He talks here about his early life in Wellington (ballet teacher Mum, racehorse trainer Dad), narrative comedy, songwriting heroes and his new album Freak Out City, and unravels New Zealand's double-edged sense of humour. Along with … … how Randy Newman pitches songs for soundtracks … “the test of a good song works is if it works with just one instrument” … lyrics he loved growing up like 16 Tons by Tennessee Ernie Ford – ‘Some people say a man is made out of mud/ A poor man's made out of muscle and blood' … Morrissey's wounded reaction to his sausage-firing Quilloughby on the Simpsons ‘Panic On The Streets Of Springfield' ... solving the “fun puzzles” of a song brief and writing for “donkeys who have a dream” … the ingenious humour of John Prine, Harry Nilsson and Leonard Cohen … the moment in his live shows where he asks the audience for a story and creates a song around it – “one woman suggested ‘falling out of love' with her husband standing right beside her” ... playing the local girls schools aged 15 as the drummer in a James Brown funk band … reworking rejected songs – “which was hard with one from Paddington with its multiple rhymes for marmalade and Peru” … Flight Of The Conchords lampooning the acts they loved (Bowie, Pet Shop Boys) and playing the O2 – “pretending to be a stadium band and the audience pretending to be a stadium audience” … live on-stage application of the John Lennon “pomegranate” lyric-solving technique … “Play like a used car salesman! I need a Steely Dan solo here!” Recording with LA session legends like Leland Sklar. Order Bret's ‘Freak Out City' album here: https://music.subpop.com/bretmckenzie_freakoutcityFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Tour dates and tickets …https://www.ticketmaster.co.uk/bret-mckenzie-tickets/artist/5380913 Hosted on Acast. See acast.com/privacy for more information.

We are joined by Billy J. Kramer as we discuss his recent album, his upcoming tour through the UK, and his history with Brian Epstein, The BeeGees, Harry Nilsson and more. We also manage to run through the entire British charts for May 1965! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr .

Geoffrey Giuliano: Author, Actor and MusicologistEd interviews author and actor Geoffrey Giuliano.Geoffrey Giuliano (born September 11, 1953) is an American author, radio personality, and film actor, best known for his biographies of The Beatles members John Lennon, Paul McCartney, and George Harrison, and of musician Pete Townshend. He is also known for his involvement in the Mclibel case.A biography Giuliano wrote, Lennon In America (released in 2000), was controversial. Giuliano said the book was based in part on transcripts of Lennon's journal given to him by the singer Harry Nilsson. The book was issued after Nilsson's death, and several people close to Nilsson do not believe he ever had the transcripts in his possession. Washington Post reporter David Segal quoted Giuliano's response when he was asked to corroborate his claim that Nilsson gave him the diaries. "It's obvious that I'm going to do things in an ethical manner." Segal also reported the view of Steven Gutstein, a former New York assistant district attorney who was asked to read the diaries during an early 1980s larceny lawsuit against former Lennon personal assistant Fred Seaman. Gutstein described his own memory of the diaries as "a lot of philosophical musings combined with mundane details of everyday life."http://www.geoffreygiuliano.net/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

This is an episode full of as much laughter and delight as the Harry Nilsson album in question. Just rock n roll clowns letting the good times roll on. Nothin' fancy. Grab a Brandy and dive in. 

SUBSCRIBE TO IMPOSSIBLE WAY OF LIFE ON PATREON TO ACCESS FULL EPISODEhttps://www.patreon.com/animpossiblewayoflifeThe boys are in studio mode over the weekend so, while we do discuss and rank Harry Nilsson's "The Point" and re-cap our amazing time with Jimmy Webb, it's also a bit of an IWOL slice of life episode. Some gear talk too, which we know everyone loves. 

Our guest on today's episode of Impossible Way Of Life needs no introduction. Having Jimmy Webb on our show was a dream come true for both of us. In fact, it was an almost mystical experience. This is a man who was in the recording studios, limousines and bars that we have romanticized since the day we started this podcast (and well before). Beyond that, he happened to write some of the most iconic songs in pop music history. So to have him here for the simple, yet beautiful purpose of sharing stories about his friend Harry Nilsson was one of the highlights of our lives. 

SUBSCRIBE TO IMPOSSIBLE WAY OF LIFE ON PATREON TO ACCESS FULL EPISODEhttps://www.patreon.com/animpossiblewayoflifeHappy Sunday folks...We take a little break from Harry Nilsson to develop a classic rock / IWOL version of Monopoly. 

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. 

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. 

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

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