Podcasts about Heartbreak Hotel

Ben Maller talks about Red Sox OF Jaren Duran saying that leading the league in 1-run losses shows they are a really good team, the Atlanta Braves adding Freddie Gonzalez as their 3B coach, Trevor Bauer winning a settlement against his accuser, Too Much or Not Enough, #QueenOfHearts w/ LaReina, and more!See omnystudio.com/listener for privacy information.

Alessandro Barbaglia ci porta nella quarta stagione di Shelf, con qualche novità. In questa puntata con Alessandro Barbaglia anche Marco Ballarè con le parole che hanno a che fare con gli occhi, Eleonora C. Caruso, che confronta Heartbreak Hotel di Micol Beltraminie Agnese Innocente con Muori romantica di Matteo Grilli e Sara Cattai, ospite della puntata, libraia della libreria Piena di LisbonaInoltre, si può partecipare a Shelf, inviando un breve messaggio vocale tramite Whatsapp al numero 3489128916: se ti va, puoi raccontarci cosa stai leggendo, dove e se ti sta piacendo!***SHELF. IL POSTO DEI LIBRIDi Alessandro Barbaglia. Con: Eleonora C. Caruso, Chiara Sgarbi, Manlio Castagna, Marco Ballarè.Realizzato da Mondadori StudiosA cura di Miriam Spinnato, Elena Marinelli, Danilo Di TerminiProgetto grafico di Francesco PoroliMusiche di Gianluigi CarloneMontaggio e post produzione Indiehub studio***Con l'invio del tuo contributo audio dichiari di accettare le condizioni del servizio podcast disponibili al seguente link

Ce lundi 5 mai, Marjorie Hache ouvre Pop Rock Station avec Skunk Anansie et son puissant "Lost and Found", extrait d'un retour scénique remarqué. L'émission revient sur l'anniversaire du premier hit d'Elvis, "Heartbreak Hotel", et célèbre la délicatesse de Lucy Dacus avant d'enchaîner sur Free, Them et The White Stripes. L'album de la semaine est "The Scholars" de Car Seat Headrest, un disque concept à la frontière du lo-fi et de l'indie rock universitaire. La reprise du jour est signée Oracle Sisters, qui revisitent "Under Control" des Strokes. En deuxième heure, Marjorie nous propose Amy Winehouse, Placebo, les Beatles, Witch Fever et Ben Harper. La nouveauté Fresh Fresh Fresh du soir vient du groupe australien Civic, avec "Chrome Dipped", une évolution vers des sonorités plus grunge. Temples, Blondie, Electric Six et Smashing Pumpkins complètent cette programmation sans fausse note. Skunk Anansie - Lost And Found War - Why Can't We Be Friends Elvis Presley - Heartbreak Hotel The Black Keys - Sister Lucy Dacus - Best Guess Them - Gloria The White Stripes - Icky Thump Car Seat Headrest - Nervous Young Inhumans Free - All Right Now Rose Betts - My Funeral Song Placebo - Pure Morning Viagra Boys - The Bog Body Oracle Sisters - Under Control Amy Winehouse - Back To Black Stuck In The Sound - Brother Witch Fever - Dead To Me! The Beatles - Lucy In The Sky With Diamonds Band Of Skulls - Nightmares Ben Harper - Steal My Kisses (Concert Très Très Privé RTL2) The Doors - Break On Through (To The Other Side) Electric Six - Danger ! High Voltage Civic - Chrome Dipped Beastie Boys - Sabotage Blondie - Denis Temples - Certainty The Smashing Pumpkins - Bullet With Butterfly Wings Dream Theater - A Broken Man Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Theatre By The Sea's announcement of the 2025 season is the subject of this week's program with Bill Hanney, owner of the theatre, and Karen Kessler, General Manager. We talk about next summer's musicals and listen to some of the very popular songs from: Always...Patsy Cline, Waitress, Hairspray, and Heartbreak Hotel. For more information, you can call (401) 782-8587 or go to www.theatrebythesea.com  

Episode 60 features a conversation with Graham Gibbs, a lifelong Max Creek fan and guitarist whose connection to the band runs deep. Graham shares heartfelt stories about growing up with a Creek-loving dad, learning guitar by studying Scott Murawski and the personal impact the band's music has had on his life. Graham also talks about his experiences performing on stage with Max Creek.This episode features the following songs performed live by Max Creek:Devil's Heart performed at Lupo's Heartbreak Hotel in Providence, Rhode Island, on May 17, 2000:https://archive.org/details/mc2000-05-17.sbd.fryinbri.flac16/mc2000-05-17d1t03.flacYellow Moon performed at The Living Room in Providence, Rhode Island, on September 19, 2001:https://archive.org/details/mc2001-09-19.shnf/mc2001-09-19d3t01.shnYes We Can Can performed with Graham Gibbs at The Met in Pawtucket, Rhode Island, on January 21, 2017:https://archive.org/details/MC2017-01-21.MaxCreekTheMetPawtucketRIwithSpecialGuestGrahamGibbs/17YesWeCanCan.flacDance performed at The Met in Pawtucket, Rhode Island, on January 25, 2019:https://archive.org/details/MC2019-01-25._KM140/MC_20190125_KM140-SBD-S01-05.flacThis episode also features a clip of the band Candle Opera performing a cover of Frank Zappa's song Cosmik Debris live at Bishop's Lounge in Northampton, Massachusetts, on March 29, 2025. Learn more about Candel Opera on Instagram at:https://www.instagram.com/candle_opera_music/Read a transcript of this episode on the Hooked on Creek website:https://hookedoncreek.com/2025/04/episode-60-graham-gibbs-discusses-max-creek/If you have feedback or suggestions for future episodes, send a message via the Hooked on Creek website:https://hookedoncreek.com/contact/

Pere Llu

Natália Lana é cenógrafa com mais de 25 anos de intensa atuação na área teatral, criou cenários para diversos musicais e atua em outras áreas da cenografia, como em shows, eventos, audiovisual, carnaval e, até mesmo, em circo. Com trabalhos constantes com renomados diretores da atualidade, recebeu os prêmios Brasil Musical, Botequim Cultural, É Sobre Musicais, Destaque Imprensa Digital, CENYM e CBTI, além de 21 indicações nos últimos quatro anos. Autora de A EVOLUÇÃO DO ESPAÇO CÊNICO e MANUAL BÁSICO DE CENOGRAFIA TEATRAL, livro este que é referência no ensino da cenografia, lecionou durante dois anos na UFRJ e ministra diversas oficinas livres, além de ter criado, junto com a cenógrafa Marieta Spada, o canal no YouTube CENOGRAVANDO, com conteúdos diversos na área da cenografia.@‌cenarioanatalialana@‌ceno_gravando“Tom Jobim Musical”No ano que completa 30 da morte de Tom Jobim, a história desse gênio da música brasileira ganha vida com um espetáculo musical assinado por Nelson Motta e Pedro Brício.Tom Jobim Musical, é uma montagem emocionante que retrata a vida e o legado do maior artista popular do Brasil. Viajamos desde a icônica praia de Ipanema nos anos 1950 até suas conquistas internacionais em Nova York, onde ele difundiu a Bossa Nova para mundo. O musical enaltece sua importância na cultura musical do país e desperta o orgulho de ser brasileiro. Amado por sua música, inteligência e humor, Tom Jobim mostrou ao mundo o melhor do Brasil.Quando se ouve uma batida de bossa nova, em qualquer lugar do mundo imediatamente se imagina o Brasil, suas belezas naturais, seu povo alegre e criativo. Foi a Bossa Nova de Tom Jobim, ao lado de Vinicius de Moraes e João Gilberto que popularizou nossa musicalidade e levou nossa cultura para todos os cantos do mundo.O musical leva os espectadores a uma jornada cativante através das melodias atemporais e das letras poéticas que definiram uma era. Da criação da icônica "Garota de Ipanema" aos sucessos internacionais como "Desafinado" e "Wave", cada nota ressoa com a paixão e a genialidade de Jobim.Esta é uma oportunidade única de mergulhar na vida e na magia do universo musical de Tom Jobim.FICHA TÉCNICATexto: Nelson Motta e Pedro BrícioArranjos musicais e orquestração: Thiago Gimenes, Ivan de Andrade e Tiago SaulDireção: João FonsecaDireção musical: Thiago GimenesCoreografia: Bárbara GuerraCenografia: Natália Lana e Nello MarreseVídeo Cenário: Batman ZavareseDesign de som: Tocko MichellazoIluminação: Caetano VilelaFigurino: Theodoro CochraneVisagismo: Anderson Bueno e Simone MomoProdução Geral: Luiz Oscar Niemeyer, Júlio Figueiredo e Bárbara GuerraRealização – Bonus Track e Barbaro! Produções"Elvis: A Musical Revolution"Com passagens marcantes por Melbourne, Austrália, e nos Estados Unidos, o espetáculo é a biografia musical por trás do ícone, a narrativa entrelaça-se com figuras cruciais, como seus pais Vernon e Gladys, o astuto Coronel Parker, e inspirações como Ann-Margret e Priscilla Presley, desvendando os segredos e as histórias pessoais que moldaram o homem por trás da lenda. Uma jornada musical com os maiores sucessos do Rei do Rock, incluindo “Jailhouse Rock", "Hound Dog", "Heartbreak Hotel" e "Suspicious Minds" que ganham vida, pulsando com a energia eletrizante que definiu gerações.EQUIPE CRIATIVA COMPLETAEscrito por: Sean Cercone e David AbbinantiBaseado na concepção de Floyd Mutrux Arranjos musicais e orquestração: David Abbinanti Direção, versão e adaptação: Miguel Falabella Tradução: Bianca Tadini e Luciano Andrey Direção musical: Jorge de Godoy Coreografia: Bárbara Guerra Cenografia: Natália Lana Design de luz: Tulio Pezzoni Design de som: Tocko Michelazzo Figurino: Lígia Rocha, Marco Aurélio e Jemina Tuany Visagismo: Dicko Lorenzo Stage Manager e Ass. De Coreografia: Johnny Camolese Produção Geral: Júlio Figueiredo e Bárbara Guerra Realização: Atual Produções e Barbaro! Produções

What do you consider to be the most memorable talk show moment?  Tom Cruise's couch-jumping interview? Presidential candidate Bill Clinton's saxophone performance of “Heartbreak Hotel?” The shocking announcement that a certain morning talk show host had just been fired for sexual misconduct?  Listen to this fun, nostalgic episode to hear OUR top picks!  Join us as we peek behind the scenes of memorable moments from “The Oprah Winfrey Show,” “The Dick Cavett Show,” “The Arsenio Hall Show," ”The Tonight Show Starring Jimmy Fallon,” “Late Night With David Letterman,” and “The Tonight Show Starring Johnny Carson.” Thank you to listener Randall for his top-of-the-episode shout-out!  MINISODE: For our SW members, in this month's bonus *video* episode we share more memorable moments from talk show history. Join the fun as we discuss incidents from “The Today Show,” “The Geraldo Rivera Show,” and “The Drew Barrymore Show” that still linger in our public consciousness. Can you guess which ones we picked? As always, thank you to the supporters who make Scandal Water Podcast possible!  Find (and subscribe to!) the show on your favorite podcast app or the Scandal Water Podcast Youtube channel. How to support Scandal Water: Rate, review and subscribe! Send your shoutouts to scandalwaterpodcast@gmail.com. Give a gift through buymeacoffee.com/scandalwaterpod or patreon.com/ScandalWaterPodcast– which will also grant you access to fabulous bonus content! #jerryspringer #trashtv #aprilfools #TalktoMe #talkshow #talkshowhost #daytimetv #truecrime #tabloid #Oprah #OprahWinfrey #DickCavett #ArsenioHall #JimmyFallon #DavidLetterman #JohnnyCarson #TomCruise

Updated For 2025! This Week In Wrestling History (Season 3 Week 14) covering the period of 4/2 thru 4/8. Running Time: 5 Hours 13 Minutes. This Week In Wrestling History hosted by Don Tony first aired in 2018 and spanned two seasons. After much demand, these retro episodes return REMASTERED and UPDATED FOR 2025. Wrestling history up to and including 2024 has been added! Hundreds of hours of original wrestling clips & stories. Enjoy this deep dive into pro wrestling's awesome history. RUNNING TIME: 5 Hours 13 MinutesHosted by Don Tony SYNOPSIS: S3 E14 (04/02 - 04/08) Audio: Jerry Lawler piledrives and sends Andy Kaufman to the hospital. And the entertainment world buys it hook, line, and sinker. Ken Patera and Masa Saito arrested after brawl with WI Police over McDonalds Hamburgers. Looking back at WrestleMania 2 (1986), V (1989), VIII (1992), IX (1993), XI (1995), 2000 (2000), 21 (2005), 22 (2006), XXV (2009), XXVII (2011), XXIX (2013), XXX (2014), 32 (2016), 33 (2017), 34 (2018), 35 (2019), 38 (2022), 39 (2023), 40 (2024) Looking back at NWA Clash Of The Champions 6: Ragin' Cagin (1989). Looking back at AWA SuperClash IV (1990). Shawn Michaels debuts new Raw talk segment: The Heartbreak Hotel. Memorable Raw Womens Match that rarely gets any mention: Alundra Blayze vs Bull Nakano for WWF Womens Championship. Bertha Faye makes WWF Raw debut. Audio: Ultimate Warrior makes Raw debut and has a memorable exchange with Goldust. Following beatdown by Vader, Yokozuna is carried to the locker room by forklift. Looking back at WCW Spring Stampede (1997). Audio: "Hulk Hogan, we coming for you n*****! Audio: Droz makes ECW debut and is greeted by New Jack, a keyboard, crutch, guitar, and vacuum cleaner. Audio: Rob vs Dam def Bam Bam Bigelow and begins 700 day run as ECW TV Champion. Looking back at WCW Pay-Per-Listen: Malice At The Palace (1998). Looking back at ECW Cyberslam '99 (1999). WCW prepares their hard reboot of product and Nitro (2000). Shawn Michaels comes out of retirement and wins Texas Wrestling Alliance (TWA) Championship. HHG Corporation (ECW) files for bankruptcy. Audio: TNN Censors speak Japan: Tajiri 'breaks up' with Torrie Wilson and get censored. Audio: The Rock's last ever Non-PPV TV match (vs Jeff Hardy, 2003). Audio: The Rock 'challenges' Goldberg. Umaga makes WWF Raw debut and lays out Ric Flair. Kevin Nash returns to WWF TV after nine month absence due to Quad Tear. Roddy Piper returns to WWF TV after seven-year absence and has first 'Pipers Pit' in fourteen years. Audio: Vince McMahon and The Product Of His Semen vs Shawn Michaels and God announced for Backlash PPV. All five members of The Spirit Squad are recognized as WWE Tag Team Champions. Mickie James, complete with blonde hair, cosplays Trish Stratus. Audio: Jack Swagger cashes in MITB Briefcase and wins World Heavyweight Championship. CM Punk attempts to have Darren Young join the Straight Edge Society. Things do happen in 3's. TNA Impact episode holds the goofy TNA Knockouts Lockout Challenge, unprotected chairshots to the head, and Orlando Jordan simulating an ejaculation to his chest. (2010). Wrestlicious fails miserably and closes its doors. WWE signs Dean Ambrose and Becky Lynch. The Rock vs John Cena announced a year before WrestleMania XXVIII. Sin Cara (original) makes WWE Raw debut. Kurt Angle pleads guilty to reckless driving after 03/25/11 DWI incident in North Dakota. Audio: Following a very boring John Cena promo on Raw, Brock Lesnar returns to WWE after eight-year absence and F-5's Cena. Daniel Bryan 'breaks up' with AJ Lee. Scott Steiner goes on Twitter Storm against TNA and Hulk Hogan. Looking back at Ring Of Honor: Supercard Of Honor 2013, 2014, 2022 and 2024  Looking back at NJPW: Invasion Attack (2013, 2014, 2015). Audio: One of the loudest crowd 'pops' in Raw history: Dolph Ziggler cashes in MITB Briefcase and def Alberto Del Rio for WWE World Heavyweight Championship. Audio: Memorable Raw match: Randy Orton vs Sheamus and the bored crowd entertains themselves with creative chants and doing the wave. Ezekiel Jackson leaves WWE following contract expiration. Audio: Paige makes WWE Raw debut and def AJ Lee for the Divas Championship. Eat. Sleep. Conquer The Streak. Cesaro becomes a Paul Heyman Guy. Rusev makes WWE Raw debut. Audio: Coming Soon: Adam Rose, Bo Dallas. Audio: Memorable Daniel Bryan Raw promo and crowd reaction after winning WWE World Heavyweight Championship at WrestleMania. Audio: Ultimate Warrior memorable Raw Promo a day before his untimely death. AJ Lee retires and leaves WWE. King Barrett makes final WWE TV appearance and is kicked out of League Of Nationals. Kurt Angle becomes new Raw General Manager. Finn Balor makes WWE in ring return after 7+ month absence with shoulder injury. Drew McIntyre makes WWE return and debuts for NXT. Audio: After defeating Undertaker at WrestleMania, Roman Reigns proclaims WWE is now his yard. And the fans have a meltdown Audio: Triple H has some fun at Billy Gunn and AEW's expense during 2019 Hall Of Fame Induction of D-Generation X  Bret Hart attacked by a mentally ill spectator during 2019 WWE Hall Of Fame Looking back at Ring Of Honor / NJPW G1 Supercard from Madison Square Garden (2019) Looking back at NXT TakeOver: New York Looking back at NXT Stand And Deliver 2021, 2022 and 2024 Audio: The Shield reunite one last time as Dean Ambrose (Jon Moxley) says Goodbye to WWE Universe  Tessa Blanchard, Jordynne Grace and Drake Wuertz go at it on social media over intergender wrestling Audio: Mark Henry thinks that due to the Pandemic, WWE WrestleMania 36 could attract TWO HUNDRED MILLION viewers! Audio: Roman Reigns surprises young terminally ill fan who couldn't attend WrestleMania 36 due to the pandemic Audio: Triple H addresses AEW/NXT Wednesday Night War: "It's a marathon, not a sprint." Hulk Hogan thinks the Covid-19 Pandemic was sent by God Audio: Tony Khan explains why he gave his approval for Chris Jericho to appear on Steve Austin' Broken Skull Sessions which aired on WWE Network and Peacock Christian Cage makes his AEW in-ring debut Triple H officially leaves his boots in the middle of the ring at WrestleMania 38 and retires from in-ring competition Nash Carter (Zachary Wentz) released by WWE after controversial photos are leaked out by estranged wife, Kimber Lee Corey Graves and Carmella get married Tony Khan claims a paid outside independent study confirmed that most of the anti-AEW haters on social media are 'Bots' Audio: Elias' younger brother Ezekiel makes his WWE debut Veer Mahaan is coming! Edge and Damian Priest form an alliance which lead to the creation of the Judgement Day Brodie King takes a shot at the Judgement Day that didn't sit well with wrestling fans Audio: Brock Lesnar turns on and annihilates Cody Rhodes after agreeing to team up and battle Roman Reigns and Solo Sikoa (RAW after WrestleMania 39) UFC and Vince McMahon announce the sale of WWE to Endeavor Audio: Triple H addresses WWE sale to Endeavor on the RAW after WrestleMania 39 Tessa Blanchard and La Rosa Negra bury the hatchet AEW announces their first ever mass release of roster talent Audio: Ronda Rousey appears on the God awful 'Banfield' news show and alleges a sexually inappropriate incident involving Drew Gulak during a WWE event Audio: Joe Tessitore interviews Paul Heyman about his induction into WWE Hall Of Fame  And much more! RIGHT CLICK AND SAVE to download the AUDIO episode of THIS WEEK IN WRESTLING HISTORY S3 E14 (4/2 – 4/8) CLICK HERE to listen to COMMERCIAL FREE episode of THIS WEEK IN WRESTLING HISTORY S3 E14 (4/2 – 4/8) CLICK HERE to listen to THIS WEEK IN WRESTLING HISTORY S3 E14 (4/2 – 4/8) online CLICK HERE to access previous episodes for all the shows === CELEBRATE 20 YEARS OF DON TONY AND KEVIN CASTLE WITH THE DTKC 20 YEAR ANNIVERSARY SHIRT! CLICK HERE for DTKC Pro Wrestling Tees Store  ==== Remember: DON TONY AND KEVIN CASTLE SHOW streams LIVE every MONDAY NIGHT at 10:45PM after WWE RAW at DTKCDiscord.com. ==== DON TONY AND KEVIN CASTLE *PATREON* AND *YOUTUBE CHANNEL MEMBERSHIPS: You can send additional support for Don Tony And Kevin Castle and help grow the brand, by becoming a member of DT/KC PATREON and/or YOUTUBE CHANNEL MEMBERSHIP FAMILY. Don Tony and Kevin Castle's PATREON has been around for over seven years! You can access all seven years of BONUS CONTENT right now including: Ad-Free episodes of all of Don Tony's weekly shows Retro episodes of The Don Tony And Kevin Castle Show going back as early as 2004 (Retro Episodes added each week!) Weekly Patreon podcasts hosted by Don Tony and Kevin Castle 2000+ hours of Patreon exclusive shows never released publicly! (Over 8 Years of Patreon Exclusive Content!) CLICK HERE to access DT/KC Patreon now! YOUTUBE CHANNEL MEMBERSHIPS: Another option is to become a CHANNEL MEMBER on YouTube. Get exclusive enhanced versions of weekly Don Tony and Kevin Castle Show, access to DT's weekly Patreon show, retro DTKC Show episodes, giveaways and more. CLICK HERE for more details and to join The DT/KC YouTube Channel Member Family! ==== CHECK OUT DON TONY AND KEVIN SHOW CONTENT ACROSS THESE PLATFORMS: CLICK HERE FOR APPLE PODCASTS CLICK HERE FOR SPOTIFY CLICK HERE FOR ANDROID CLICK HERE FOR AMAZON MUSIC CLICK HERE FOR GOOGLE PODCASTS CLICK HERE FOR PANDORA CLICK HERE FOR PODBEAN CLICK HERE FOR IHEARTRADIO CLICK HERE FOR DON TONY AND KEVIN CASTLE SHOW MERCHANDISE! ==== DON TONY AND KEVIN CASTLE: WEEKLY SHOW SCHEDULE (UPDATED: NOVEMBER 2024): DON TONY AND KEVIN CASTLE SHOW: LIVE EVERY MONDAY NIGHT at 10:45PM ET after WWE RAW on DTKCDiscord.com DT VIPATREON: Patreon Exclusive Show hosted by Don Tony LIVE EVERY TUESDAY at 8:30PM on DTKC Patreon Channel (https://www.patreon.com/dontony) PRO WRESTLING NEWS UPDATES: Posted every WEDNESDAY morning at DonTony.com (and across all audio platforms) THIS WEEK IN WRESTLING HISTORY: Posted every THURSDAY at DonTony.com (and across all audio platforms) CASTLE/KNT CHRONICLES: Patreon Exclusive Show hosted by Kevin Castle and Trez LIVE EVERY THURSDAY 8:30PM on DTKC Patreon Channel (https://www.patreon.com/dontony) PRO WRESTLING NEWS UPDATES: Posted every FRIDAY morning at DonTony.com (and across all audio platforms) PRO WRESTLING WEEKEND NEWS UPDATE: Posted every SATURDAY at DonTony.com (and across all audio platforms) THE SIT-DOWN w/DON TONY: VIDEO PODCAST hosted by Don Tony LIVE EVERY SUNDAY at 8PM on YouTube (www.YouTube.com/DonTony) WWE/AEW PPV RECAP/REVIEW: (Posted MONDAY NIGHT as part of Don Tony and Kevin Castle Show) ==== SOCIAL MEDIA / WEBSITE / CONTACT INFO: Twitter: https://twitter.com/dontonyd Patreon: https://www.patreon.com/dontony Facebook: https://facebook.com/DTKCShow YouTube: https://www.youtube.com/dontony Website: https://www.wrestling-news.com Email: dontony@dontony.com

L'excepció de l'excepcionalitat. Crítica teatral de l'obra «Les coses excepcionals», de Duncan Macmillan, Traducció d'Adriana Nadal. Intèrpret: Pau Roca. Espai escènic: Paula Bosch. Disseny de llums: Ignasi Bosch & Guillem Gelabert. Produccció executiva: Adriana Nadal. Una producció de Sixto Paz Produccions, amb el suport de l'ICEC-Departament de Cultura de la Generalitat de Catalunya i la beca Barcelona Crea 2023. Ajudantia de direcció: Jan Vilanova. Direcció: Sixto Paz Produccions. Heartbreak Hotel, Barcelona. De 26 de març al 27 d'abril 2025. Veu: Andreu Sotorra. Música: Cel clar. Interpret: Ferran Palau. Composició: Ferran Palau. Àlbum: el clar, 2020.

Elliot Jay O'Neill & BT Calloway are joined by Diana Green to review; S.30 E.2 “Heartbreak Hotel” S.32 E.9 “Sorry Not Sorry”   This is a Side Quest Studios Production Huge THANK YOU to our Heroes over at Patreon  Grant Prusi // 16_oz_mouse // Philip Wolf // Timothy Burleson // Stephanie // Chris Tar // AlmightyK // Kaleb982 // nickibis // Teresa // David James Young   You too can become a Hero by supporting us on our Patreon page and you'll unlock a bonus podcast EVERY WEEK plus access to our back catalogue of over 200 exclusive podcasts! http://www.patreon.com/sidequeststudios    STARRING SPRINGFIELD is our new podcast where we review movies that star the cast of The Simpsons Check it out here -- https://pod.link/1773418376   PLUGS   Check out Diana's YouTube channel https://www.youtube.com/@Freezer94   Pulp Fury Radio; our fiction anthology podcast. http://www.pulpfuryradio.com  put this in your web and series it! http://www.daveplusone.com   We reviewed Game of Thrones in reverse order at “Thrones Of Game”  https://thronesofgame.podbean.com  All the links to our socials are here   Threads Bluesky Facebook Instagram

Matt Axton is an Americana and Roots singer-songwriter who comes from an illustrious musical family. His father was Hoyt Axton, who wrote some of the biggest hits of the 1960's/70s including “Joy To The World” and “Never Been To Spain” for Three Dog Night, “The No No Song” for Ringo, and “The Pusher” for Steppenwolf. His mother Donna was the pianist in his dad's band and is a professor of music. And Matt's grandmother, Mae Boren Axton, co-wrote “Heartbreak Hotel”, Elvis's first million selling single.My featured song is the live version of “Hey Jake” from the album East Side Sessions 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.—----------------------------------------Connect with Matt:www.mattaxton.com—----------------------------------------ROBERT'S RECENT SINGLES:“ROUGH RIDER” is Robert's latest single. It's an instrumental with a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's 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.—----------------------------------------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

On the 62nd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, singer, guitarist and bassist from the Ace Frehley Band, Gene Simmons Band and also Rock City Machine Co, Ryan Spencer Cook, review the 1968 legendary album from Elvis Presley, "NBC TV Special" or better known as the "1968 Comeback Special." By 1968 Elvis had not performed live since 1960. Although, his movie career had been a tremendous success, even making him the highest paid actor in Hollywood, Elvis was not satisfied creatively. His music had been basically soundtracks to his movies and Elvis was frustrated. Since Elvis rocket stardom was born out of his legendary television performance, Elvis and along with young television producer Steve Binder, created a TV Special that would become affectionately known as the 1968 Comeback Special. Ignoring his manager Colonel Tom Parker's insistence that the TV Special be a Christmas theme event, Elvis & Steve Binder created a TV Special that would end up being the highest rated tv show of the year gaining 42% of the television audience. This special brought the KING back! The television special including various types of performances. Elvis performed some of his greatest hits, sometimes alone, sometimes with his original band in an intimate round setting, sometimes in sketches and even with dancers and gospel singers. The songs were varied and styles as well, matching Elvis' versatile appeal. The audience was young and attractive and Elvis wore various outfits, including the leather outfit which has become legendary and synonymous with this performance. Elvis never looked as good or sounded as good as well. The album went to number 8 on US Billboard charts and eventually platinum. There are numerous variations of this album and special releases that include a lot of the songs not featured in the television special. But all versions, include his incredible medley of Trouble / Guitar Man and the medley of his biggest hits like Love Me Tender, Hound Dog, Heartbreak Hotel, All Shook up and more. The album does include his single, If I Can Dream, which may be Elvis' greatest performance of all time. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous albums reviewed on the Album Review Crew. This was obviously Zeus' pick. So as Eddie Murphy says, "We got to win this race!" and we want to thank you, thank you very much, you're a beautiful audience thank you! To Purchase Elvis Presley's “NBC TV Special” On Amazon Click Below:   Elvis Presley's "NBC TV Special"   To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   Raise Your Glasses Book   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Dem Vinyl Boyz, we groove through one of the most underrated gems in The Jacksons’ catalog—1980’s Triumph. This album marked a pivotal moment for the legendary group, as they fully embraced a polished, funk-infused sound while continuing to solidify their legacy beyond their Motown years. Featuring standout tracks like "Can You Feel It," "Lovely One," "Walk Right Now," and "This Place Hotel" (originally titled "Heartbreak Hotel"), Triumph showcased The Jacksons at their creative peak. The album saw Michael Jackson taking on a more dominant role in songwriting and production, foreshadowing the legendary solo career he would soon launch into full force. With infectious grooves, uplifting messages, and some of the group’s tightest harmonies, Triumph proved that The Jacksons were still a dominant force in the music industry. In this episode, we’ll break down the production, songwriting, and cultural significance of Triumph, exploring how this album not only set the stage for Michael’s Thriller era but also reaffirmed the Jacksons as pioneers of pop, R&B, and funk. Join us on Dem Vinyl Boyz as we celebrate Triumph, an album that lived up to its name and remains a timeless classic in The Jacksons’ discography.

On the 62nd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, singer, guitarist and bassist from the Ace Frehley Band, Gene Simmons Band and also Rock City Machine Co, Ryan Spencer Cook, review the 1968 legendary album from Elvis Presley, "NBC TV Special" or better known as the "1968 Comeback Special." By 1968 Elvis had not performed live since 1960. Although, his movie career had been a tremendous success, even making him the highest paid actor in Hollywood, Elvis was not satisfied creatively. His music had been basically soundtracks to his movies and Elvis was frustrated. Since Elvis rocket stardom was born out of his legendary television performance, Elvis and along with young television producer Steve Binder, created a TV Special that would become affectionately known as the 1968 Comeback Special. Ignoring his manager Colonel Tom Parker's insistence that the TV Special be a Christmas theme event, Elvis & Steve Binder created a TV Special that would end up being the highest rated tv show of the year gaining 42% of the television audience. This special brought the KING back! The television special including various types of performances. Elvis performed some of his greatest hits, sometimes alone, sometimes with his original band in an intimate round setting, sometimes in sketches and even with dancers and gospel singers. The songs were varied and styles as well, matching Elvis' versatile appeal. The audience was young and attractive and Elvis wore various outfits, including the leather outfit which has become legendary and synonymous with this performance. Elvis never looked as good or sounded as good as well. The album went to number 8 on US Billboard charts and eventually platinum. There are numerous variations of this album and special releases that include a lot of the songs not featured in the television special. But all versions, include his incredible medley of Trouble / Guitar Man and the medley of his biggest hits like Love Me Tender, Hound Dog, Heartbreak Hotel, All Shook up and more. The album does include his single, If I Can Dream, which may be Elvis' greatest performance of all time. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous albums reviewed on the Album Review Crew. This was obviously Zeus' pick. So as Eddie Murphy says, "We got to win this race!" and we want to thank you, thank you very much, you're a beautiful audience thank you! To Purchase Elvis Presley's “NBC TV Special” On Amazon Click Below:   Elvis Presley's "NBC TV Special"   To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   Raise Your Glasses Book   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Virginie Despentes i S

It's everyone's favorite topic: Bad dates!  We also decided to expand into bad breakups.  These are the best episodes because everyone has a harrowing story of love lost.  And the Gab Gals dug deep for at least one never-before-told bad date story.  (And that's saying a lot considering how many bad date episodes they've done.)

Send us a message, so we know what you're thinking!In case you hadn't noticed, we love a good cover version! This episode, we're looking at covers - staples, covers from strange sources, and some songs that have had a LOT of covers, including a bunch of covers of Bowie's “Heroes”. Our Album You Must Hear before You Die is “Is This It?” by The Strokes. This punk/Britpop-influenced album got rave reviews on release in 2001 from Rolling Stone, The Village Voice, and New Musical Express.  We're not convinced.  In Knockin' on Heaven's Door, we mourn the loss of Wayne Osmond (of the Osmond Brothers), Chad Morgan, the Aussie country great, and Peter Yarrow, of Peter, Paul and Mary.  We hope they get to sing a rousing chorus of “Puff the Magic Dragon together.  As usual, there's heaps of fun.  Enjoy!! Playlist (all the songs and artists referenced in the episode) Playlist – “Heroes” covers  References:  Heroes, REM, Leonard Cohen, “Suzanne”, “Hallelujah", Bob Dylan, “All along the Watchtower”, "If Not for You”, Olivia Newton-John, Johnny Cash, American Recordings, “All the Young Dudes”, Mott the Hoople, Ian Hunter, XTC, White Music, “This is Pop”, Devo, “(I can't get no) Satisfaction”, Zoot, “Eleanor Rigby”, Rick Springfield, Howard Gable, Alison Durbin, 801, “Tomorrow Never Knows”, ” 801 Live, "You Really Got Me”, Ministry, “Lay Lady Lay”, Al Jourgenson, “Heartbreak Hotel”, Elvis Presley, John Cale, June 1, 1974, Slow Dazzle, Fragments of a Rainy Season, Nirvana, "The Man Who Sold The World", “Unplugged”, Mick Ronson, Linda Ronstadt, “Different Drum”, Stone Ponies, Mike Nesmith, “You're No Good”, “Poor Poor Pitiful Me”, Cowboy Junkies, “Sweet Jane”, Fine Young Cannibals, “Suspicious Minds”, Talking Heads, “Take Me to The River”, Elvis Costello, “(What's So Funny ‘Bout) Peace, Love, And Understanding”, George Benson, “On Broadway”, Mia Dyson, “The Passenger”, Siouxsie & The Banshees, Sara Blasko, “Flame Trees”, “Goodbye Yellow Brick Road”, Reg Livermore, “Celluloid Heroes”, The Kinks, Peter Gabriel, Scratch My Back, I'll Scratch Yours, Motorhead, David Hasselhoff, Blondie, Oasis, Nico, Moby (with Mindy Jones), Phillip Glass, “Superman”, Lifes Rich Pageant, “There She Goes Again”, “Pale Blue Eyes”, “First we take Manhattan”,  

Steve and Captain Evil are ‘All Shook Up' as they take a trip to Graceland, diving deep into the world of ‘The King'. But will they end up in Heartbreak Hotel after seeing Elvis' home, or will it be ‘A Big Hunk o' Love' for Memphis? Then, the ultimate question: If you caught Mark McGwire's historic home run ball, would you keep it and cash in for ‘Three Million Dollars, Baby' or do the right thing and hand it back—risking a lifetime of ‘Suspicious Minds' judging you? Or would you be ‘Caught in a Trap' of moral dilemma? And finally, grab your ‘Blue Suede Shoes' and get ready for a tearjerker—Steve shares a ‘Can't Help Falling in Love' moment from one of his shows that proves sometimes, life gives you ‘A Little Less Conversation' and a lot more heart. Don't be ‘Lonesome Tonight'—tune in now! See what we did there?

On this day in1956, Elivs' Heartbreak Hotel was released. It would become his first million-seller. 

Heartbreak Hotel at the Riverside Center for the Performing Arts thru March 2nd.  Joining Patrick Ahearn,   (youngest to oldest)- Grayson, Luke and Elliot play different parts of the life of Elvis.  riversidedt.com

This week, the court shakes, rattles and rolls when author Landon Palmer (“Rock Star/Movie Star”) tries to check out of the Heartbreak Hotel with the 1964 Elvis vehicle “Viva Las Vegas.” *** Prosecutor: Dylan J. Schlender. Defense: Landon Palmer. Judge: The Honorable Ryan Luis Rodriguez. Jurors: Ryan Luis Rodriguez, Maynard Bangs, Big Ben Haslar. *** Advisory: Silvana Carranza. Prologue: Kirk R. Thatcher. Original Theme: WT Golden.What did you think of the verdict?

The good brothers are back in your life for Volume 189 and we are joined the legend Heartbreak Julio from The Almanac Show! We talk about WWE Raw on Netflix, did The Rock essentially tell everyone he is not wrestling at Wrestlemania, Oba Femi and Giulia usher in a new era of NXT, Powerhouse Hobbs being main event ready, ASE Wrestling TV, and much more!BGWX- bgwpodInsta- bgwpodScotlandX- PoeticScotlandInsta- scotland_underwoodNoloX- RaleOfTheLeafInsta- RaleoftheleafChazX- My_man_zoInsta- chaz_zo_bD MacX- DMacTardyInsta- dmactardyLOX - LOfrmTHELEADInsta - lofrmthelead

Support Breaking Walls at https://www.patreon.com/thewallbreakers It's 6PM on Wednesday, January 11th, 1956. I'm at Colbee's Restaurant on the ground floor of the CBS headquarters at 485 Madison Avenue. I'm about to have a bite to eat with the man you just heard, Mandel Kramer. Yesterday at Edwards Air Force Base in California, U.S. Air Force First Lt. Barty R. Brooks died in the crash of a F-100 Super Sabre. The accident was caught on film. Word from Memphis is that young singer Elvis Presley recorded a new song called “Heartbreak Hotel.” Today's cover of The New York Daily News shows Grace Kelly in Monaco, but the interior pages talk about the rising problems in Vietnam. South Vietnam President Ngô Đình Diệm issued an ordinance giving his government almost unchecked power to deal with any opposition. Meanwhile, the Soviet Union has approved technical specifications for an R-13 submarine-launched missile. And earlier today, The 1956 Chevrolet Corvette was announced. It'll cost three-thousand-one-hundred-twenty dollars. It features a new body, convertible top, optional power steering, optional hardtop, and rollup glass windows. The V6 option has been dropped in favor of either a two-hundred-ten or two-hundred-twenty horsepower V8 Engine. A 3-speed manual transmission is now standard. The main national news is the debate on whether or not President Dwight D. Eisenhower will seek a second term. After suffering a heart attack in September of 1955 Ike is still undeclared, meeting with an array of doctors to gauge whether the rigors of running for reelection will cause undue health issues. The United Press reported on Tuesday the 10th that sixty percent of the more than four hundred doctors polled felt that Dwight would be able to serve. Perhaps some insight into Ike's psyche was gleaned when on Monday, January 9th, he once again took over full White House duties, including naming Bernard M. Shanley Appointments Secretary. Meanwhile, on NBC radio, Keys To The Capital is airing.

fWotD Episode 2805: Elvis Presley Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 8 January 2025 is Elvis Presley.Elvis Aaron Presley (January 8, 1935 – August 16, 1977), known mononymously as Elvis, was an American singer and actor. Known as the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. Presley's energized performances and interpretations of songs, and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, brought both great success and initial controversy.Presley was born in Tupelo, Mississippi; his family relocated to Memphis, Tennessee, when he was 13. His music career began there in 1954, at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on guitar and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who managed him for the rest of his career. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the US. Within a year, RCA Victor would sell ten million Presley singles. With a series of successful television appearances and chart-topping records, Presley became the leading figure of the newly popular rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans led to him being widely considered a threat to the moral well-being of white American youth.In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, he relaunched his recording career two years later with some of his most commercially successful work. Presley held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of Presley's most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, he returned to the stage in the acclaimed NBC television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. However, years of prescription drug abuse and unhealthy eating severely compromised his health, and Presley died unexpectedly in August 1977 at his Graceland estate at the age of 42.Presley is one of the best-selling music artists of all time, with sale estimates ranging from 500 million records to over a billion worldwide. He was commercially successful in many genres, including pop, country, rock and roll, rockabilly, rhythm and blues, adult contemporary, and gospel. He won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.This recording reflects the Wikipedia text as of 00:58 UTC on Wednesday, 8 January 2025.For the full current version of the article, see Elvis Presley 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 neural Niamh.

Show #1079 Late With A Twist 01. Shawn Pittman - Until The Time Is Right (5:07) (My Journey, Must Have Records, 2025) 02. Sheryl Youngblood - Red Hot Women in Blues (4:47) (Single, Delmark Records, 2024) 03. Rychey - I Can't Sing The Blues (3:50) (Single, self-release, 2024) 04. Sugar Brown - Bad Health, No Wealth (7:01) (Toronto Bound, self-release, 2024) 05. Emanuel Casablanca - Hollywood Forever (8:38) (Hollywood Forever, Bad Boy Of Blues, 2025) 06. Voodoo Ramble - 4000 Years Old (3:07) (In The Heart Of The City, Thoroughbred Music, 2024) 07. Dom Martin - Dixie Black Hand (7:09) (Buried Alive, Forty Below Records, 2024) 08. Big Twist & the Mellow Fellows - I Live The Life I Love (5:08) (Bigger Than Life, Alligator Recorda, 1987) 09. Heartfixers - The Jungle (4:25) (Live At The Moonshadow, Landslide Records, 1983) 10. Steve Miller Band - Blues Without Blame (5:53) (Rock Love, Capitol Records, 1971) 11. William Clarke Blues Band: Deal The Cards (6:55) (Rockin' The Boat!, Rivera Records, 1987) 12. Doug Sahm, Augie Meyers & Guests - I Pity The Fool [1977] (3:38) (Back To The 'Dillo, Sonet Records, 1982) 13. Roomful of Blues - Three Hours Past Midnight (8:05) (Live At Lupo's Heartbreak Hotel, Varrick Records, 1986) 14. Curtis Salgado & In Yo Face - Cryin' Won't Help You (5:32) (Live At The Roadhouse, Criminal Records, 1985) 15. Solution - Divergence (4:46) (Live, Sky Records, 1983) 16. Oz Noy - Ruby, My Dear (7:10) (Fun One, Criss Cross Jazz Records, 2024) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

In this installment we navigate through nearly two hours of emotional torture. Welcome to Heartbreak Hotel, you may check out anytime you like but you may never leave. Check out my store at  www.coffeestainclothing.com last week I released the Bliss Eternal Hoodie. A hand-printed iPad doodle on the front, back and sleeve. Hope someone out there enjoyed this wicked hot installment. Until next time..Your trusted Host with the Most,DJ Witwickatron

Theatre By The Sea's announcement of the 2025 season is the subject of this week's program with Bill Hanney, owner of the theatre and Karen Kessler, Director of Marketing. We talk about next summer's musicals and listen to some of the very popular songs from Alway...Patsy Cline, Waitress, Hairspray, and Heartbreak Hotel (about Elvis). For more information you can call (401) 782-8587, or go to www.theatrebythesea.com

Mentre Silvia recupera una serie dramedy vista qualche mese fa, "Feel Good", Sergio condivide un altro recupero di lettura e propone il fumetto "Heartbreak Hotel", di Micol Beltramini e Agnese Innocente.Risate amare e lacrime dolci, ce n'è per tutti i gusti!--Qui tutti i link:https://oldmanaries.it/index.php/potrebbe-piacerti/https://silviacolaneri.it/potrebbe-piacerti/----Per contattarci:Pagina Facebook: https://www.facebook.com/potrebbepiacertiAccount Instagram: @potrebbepiacertiSergio: https://www.oldmanaries.it - Instagram: @OldManAriesSilvia: https://www.silviacolaneri.it - Instagram: @Silosa

Send us a textJoin former child star Moosie Drier, and author Jonathan Rosen, as they chat with country music legend T. Graham Brown!T. Graham talks about his journey in country music, being the voice of a national Taco Bell campaign, performing with artists such as Kenny Rogers and Carol Channing, having a part in the movie Heartbreak Hotel, working with Richard Pryor, and much more!Support the show

Send us a textJoin former child star Moosie Drier, and author Jonathan Rosen, as they chat with country music legend T. Graham Brown!T. Graham talks about his journey in country music, being the voice of a national Taco Bell campaign, performing with artists such as Kenny Rogers and Carol Channing, having a part in the movie Heartbreak Hotel, working with Richard Pryor, and much more!Support the show

Check-in to The Xclusive HeartBreak Hotel with H.B.P. and lets discuss the past two weeks of WWE. Share your thoughts in the comment section below and don't forget to like, comment, subscribe, and hit the notification bell. #wwe #nxt #wrestling #xkpodcast #lmsnetwork

This summer, a one-in-a-thousand-year flood hit the village of Plainfield, Vermont. A local apartment building, which everyone called the Heartbreak Hotel, collapsed and washed away down the Great Brook. Twelve people were living there at the time, and they all survived. Most of their cats did not.We talk a lot about the importance of affordable housing and community and village revitalization. For over a century, the Heartbreak provided all three. This is a story about what was lost that night, and what it might suggest about how we move forward.

This week, we discuss being heartbroken over sports, fashion functions, Williamsburg being turned into an open air mall, being out of your depths in a clothing store, the "Loafer Wars", how America became the "gun country", psychic guys, and probably more.

Checking in with former residents of the Heartbreak Hotel, a Plainfield apartment building that was washed away in last July's floods. Plus, Montpelier at long last has a new post office following last year's flooding, Vermont median household incomes spiked far beyond the national average last year, Goddard College's campus has a(nother) new buyer, Rutland is taking steps to boost its housing stock amid a statewide shortage, and a young lynx has been spotted meandering north through Vermont.

Check-in to the HeartBreak Hotel w/ H. B. Prince for a look at the week so far in WWE. Please like, subscribe, hit the notification bell, and comment below with your thoughts on this week of WWE. #wwe #smackdown #raw #nxt #wrestling #xkpodcast #lmsnetwork

Welcome back to the Trekkie Book Club, ah, the Heartbreak Hotel — where we attempt to cope with yet another Benjamin Sisko tragedy. We resume our discussion of 'The Autobiography of Benjamin Sisko' written by Derek Tyler Attico, as we cover chapters 13 and 14. In this episode, Benjamin makes friends while navigating the yearly Starfleet Academy Crisis Protocol, and also has to deal with more heartbreak while prepping for the Kobayashi Maru! Join us as we dive into the deets, look for connections to Trek-lore, and much more. Get the Book: https://amzn.to/3WdVtxQ #TheAutobiographyOfBenjaminSisko

Welcome back to the Trekkie Book Club, ah, the Heartbreak Hotel — where we attempt to cope with yet another Benjamin Sisko tragedy. We resume our discussion of 'The Autobiography of Benjamin Sisko' written by Derek Tyler Attico, as we cover chapters 13 and 14. In this episode, Benjamin makes friends while navigating the yearly Starfleet Academy Crisis Protocol, and also has to deal with more heartbreak while prepping for the Kobayashi Maru! Join us as we dive into the deets, look for connections to Trek-lore, and much more. Get the Book: https://amzn.to/3WdVtxQ #TheAutobiographyOfBenjaminSisko

Xclusive HeartBreak Hotel with H.B. Prince (9-20-24) Enter The Heartbreak Hotel with H.B. Prince of the Xclusive Knights Podcast to get his latest thoughts of the happens in the world of Wrestling! #KnightsOfTheRealm #XFPodcast #WWE #NXT #AEW

In the latest episode Jae & Nell  are back to discuss a gang of topics this week. To skip past the opening music set got to (6:30) The crew opens the pod talking about the passing of Fat Man Scoop & Rich Homie Quan.  Georgia school shooting (12:08) Chase money glitch. (22:58) Mase finally drops music…(33:30) Meg The Stallion again…(38:28) Woman paid man back with a foursome for getting Usher tickets (46:30) Woman get boyfriend jammed up bc she wouldn't believe him. (54:51) Girls who want bad boys. (1:03:03) What makes a hoe?(1:07:19) Woman's intuition?? (1:15:39) A woman cheating on her man (1:22:00) New Music  (1:29:45) and a myriad of other topics and more!!……. Click the link in our Instagram bio @TheJaeAndFriendsPodcast Songs: September  - Earth, Wind, & Fire (Intro) We Are One - Frankie Beverly & Maze (Intro) California - Colonel Loud Feat. T.I., Young Dolph, Ricco Barrino (Intro) Lifestyle - Young Thug & Rich Homie Quan (Outro) Credits: Created by: J. Williams Executive Producers: J. Williams, A. Williams Associate Producers: J. Williams. D. Hudgins Creative Director: J. Williams Subscribe on YouTube - https://bit.ly/JFPYTSub Follow on the official podcast IG page - https://bit.ly/TheJFPIGpage Jae's Instagram - https://bit.ly/JaeIGpage Nell's Instagram - https://bit.ly/NellIGpage #TheJaeAndFriendPodcast

With Pete still on his way home, Sam and Robert recap a wild Week 1 in college football. Coach Holmes joins the boys for the VT corner to try and explain what happened on Saturday.

Liss N' Kristi are saddened by the news of the break-up of Mandie Kaii and Danae Hays, a lesbian couple whose relationship became an overnight sensation after going viral on YouTube and social media, partly because of their willingness to discuss their deepest feelings and challenges in public. It came as a shock, with stand-up comedian Danae about to embark on a 4 month sell-out tour.  In this episode, we examine the unique challenges of relationships conducted in the public gaze, and the pressure and ill-informed criticism they attract. They wonder what might be lacking in people's own relationships, that so many become fascinated or even obsessed with celebrity couples.  00:00 Start00:11 Heartbreak Hotel 00:23 The lesbians of the world are heartbroken01:28 They were so adorable 01:50 Danae's sold out tour 02:35 Their relationship had that golden ticket03:14 Refined and Rowdy podcast 03:59 They're identifiable, they're relatable04:23 Danae nailed her southernisms 06:03 We are both deeply saddened to share we have decided to go our separate ways06:31 Mandie wrote that 06:44 They just got married two years ago 07:14 She's got more rings than Tom Brady07:59 The mom and dad of the lesbian world08:48 The best love story - the checkout boy11:25 Couples under the microscope13:01 Just trying to hold it together13:15 The Million Dollar Listing15:08 Becoming invested in 'public' relationships 17:02 Danae's comic characters17:49 A critical episode of their podcast19:10 Picking up clues to the breakup20:40 Disillusion with our own relationships22:02 People who take pleasure in other's conflicts23:10 Jlo and Ben24:02 Neglecting your partner

We remember longtime RSC colleague Jerry Kernion, who passed away last week after a short illness. Jerry acted for us in multiple shows and produced, directed, and edited our DVD film version of The Complete History of America (abridged). A much in-demand stage and film actor, we hear excerpts from previous podcast interviews where Jerry discusses performing both Dromios in A Noise Within's The Comedy of Errors, Sir Toby Belch, and Colonel Tom Parker in the jukebox musical Heartbreak Hotel. (Length 23:01) The post Remembering Jerry Kernion appeared first on Reduced Shakespeare Company.

Elvis, abandonó "el edificio” definitivamente -como una voz solía recordar al final de sus actuaciones- un 16 de Agosto de 1977 ante la consternación generalizada pero también el reconocimiento que su impronta merecía. Sus compañeros de viaje, los músicos que le acompañaron en sus primeros tiempos como Scotty Moore, Bill Black o D.J. Fontana, sin embargo, en silencioso goteo desaparecidos . "Heartbreak Hotel", "King Creole" o "Jailhouse Rock”, les deben tanto como "In the Ghetto o "Suspicious Minds” a Ronnie Tutt o James Burton sus sucesores en la ardua tarea. Del diminuto sello independiente Sun Recods al "Comeback 68" para cerrar con "Aloha from Hawaii", 1500 millones de espectadores su canto de cisne. Traje de lamé dorado, imagen del mesias de una nueva religión, el rock´n´roll, o enfundado en un mono blanco cual Supermán, Debido homenaje, memoria sin filtrar de "todos los hombres" de Elvis. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

I'm sitting down with Dorothy Johnson again, who continues to do amazing things with her online offer, "Get Over Your Ex.” She took her coaching business from barely making it to consistently filling up spots in her program using Facebook ads.  Dorothy shares how she navigated some seriously tough personal challenges while still showing up for her business—and how she's created an evergreen funnel that just keeps working. This Week on the Get Paid Podcast: The exact Facebook ad strategy Dorothy used to book out her one-on-one coaching How she transitioned to an evergreen funnel that still brings in consistent sales The mindset shifts that helped her scale, even when things got hard Her unique "Heartbreak Hotel" offer and how it's making waves with her clients Why tracking data (even when it feels tedious) is key to long-term success Mentioned in this podcast: Learn the same ad strategies Dorothy used: https://clairepells.com/afa-waitlist  Now it's time to GET PAID Thanks for tuning into the Get Paid Podcast! If you enjoyed today's episode, head over to Apple Podcasts to subscribe, rate, and leave your honest review. Connect with me on Facebook, YouTube, and Instagram, visit my website for even more detailed strategies, and be sure to share your favorite episodes on social media. Now, it's time to go get yourself paid

This week Sav and Llary get deep with a special guest. They dive into their own experiences with heartbreak, discuss whether closure is real and how to reach it, and share some lessons learned from past romances.

What do you know about the King, baby? Did you know how poor he was growing up? How quickly he became famous as an adult? Did you know he had a pet chimp, Scatter, that he let get drunk and terrorized costars on some of his movie sets? A lot about Elvis and a little bit on the history of Rock n Roll this week!  Thank ya very much. Watch the Suck on YouTube: https://youtu.be/pd-Dm1tfkOUMerch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious PrivateFacebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch. And you get the download link for my secret standup album, Feel the Heat.

Join us in today's episode of 'The Breakup Police' as we dive into a world where justice for heartbreaks is served. Ever wished there were actual officers to ticket those who leave us feeling shattered? We get it. From unfair moves to blatant disregard, navigating post-breakup turmoil can feel like a solo journey. Explore with us as we unravel the power of perspective. Imagine feeling seen, validated, and liberated from the weight of proving your pain. What if you could reclaim your peace without waiting for external validation? Tune in to discover how to find solace, and embrace a future where your worth isn't defined by past hurts.  The Braveheart Experience: https://dorothyabjohnson.com/heartbreakhotel/ Heartbreak Hotel: https://www.airbnb.com/rooms/1065229723668566919?guests=1&adults=1&s=67&unique_share_id=c27d4632-f2ea-453e-ac1a-f070e36ceea0

Prepare to be captivated by an enchanting narrative of healing and transformation as our host unveils the secrets of the Heartbreak Hotel and her most recent journey from miscarriage, called off engagement, new home and marriage. Journey with us as we explore the transformative power of sacred spaces, the magic of self-reflection, and the art of finding peace amidst chaos. This episode promises to inspire and empower you to embark on your own journey of healing, growth, and self-discovery. Heartbreak Hotel: https://www.airbnb.com/rooms/1065229723668566919?check_in=2024-05-01&check_out=2024-05-06&guests=1&adults=1&s=67&unique_share_id=f6f3fd06-24e7-4033-9785-0c184efcf608 The Braveheart Experience: https://dorothyabjohnson.com/heartbreakhotel/ House Numerology: https://www.elledecor.com/life-culture/news/g748/home-numberology/

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.