Podcasts about Hedon

Bermonolog lagi buat ngajak kalian semua mulai hidup HEDON, supaya bisa mengamalkan salah satu perintah Tuhan untuk selalu bersyukur atas hidup kita. Tujuan utamanya adalah agar kita selalu bisa #JagaDiri kita dan bisa hidup sejahtera. #30HariBersuara2024 #30HariBersuara #KembaliBersuara

The Game Changers podcast celebrates those true pioneers in education who are building schools for tomorrow. In episode 191 (Part 3) of Game Changers, Phil Cummins joins in conversation with George Hedon. George Hedon is the visionary Founder and CEO of Pause Fest & Awards, Australia's flagship innovation festival known as ‘Innovation Capital'. Under his leadership, Pause Fest has attracted over 80,000 attendees and has become a benchmark for business excellence. Renowned for his creativity and strategic acumen, George has collaborated with global giants like Canva, NASA, BBC, Google, AWS, Adobe, IBM and Blackmagic Design. A sought-after speaker, judge, consultant and mentor, he has contributed to events like SXSW and SingularityU. Holding a Bachelor of Visual Communication from Swinburne University, George is an 'Enabler of Awesome', coffee addict, cyclist and sunset chaser. The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil and Adriano via LinkedIn and Twitter. Let's go!

He Don't Need a Woman (Episode 265) by Moose, Ceaz, Dona, & Joz

The Game Changers podcast celebrates those true pioneers in education who are building schools for tomorrow. In episode 191 (Part 2) of Game Changers, Phil Cummins joins in conversation with George Hedon. George Hedon is the visionary Founder and CEO of Pause Fest & Awards, Australia's flagship innovation festival known as ‘Innovation Capital'. Under his leadership, Pause Fest has attracted over 80,000 attendees and has become a benchmark for business excellence. Renowned for his creativity and strategic acumen, George has collaborated with global giants like Canva, NASA, BBC, Google, AWS, Adobe, IBM and Blackmagic Design. A sought-after speaker, judge, consultant and mentor, he has contributed to events like SXSW and SingularityU. Holding a Bachelor of Visual Communication from Swinburne University, George is an 'Enabler of Awesome', coffee addict, cyclist and sunset chaser. The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil and Adriano via LinkedIn and Twitter. Let's go!

On today's Podcast Show we talk about the Post election last night and how Donald Trump won the election and is poised to make a Comeback and truly Make America Great Again.   Source: Donald Trump wins the White House and the election. https://www.washingtonexaminer.com/news/3210669/donald-trump-wins-2024-election-defeating-kamala-harris/ He Don did it again. https://nypost.com/2024/11/06/us-news/2024-presidential-election-live-updates-11-6-2024/ Democrats are in a panic that they lost. https://nypost.com/2024/11/06/us-news/kamala-harris-supporters-break-down-as-she-loses-election-to-trump/ The good times are coming back with Trump. https://www.latimes.com/politics/story/2024-11-06/trump-defeats-harris-47th-president-election-2024   Support my affiliates Podbean affiliate: https://www.podbean.com/NCPB Minds Referral: https://www.minds.com/?referrer=Shianp Minds + Referral: https://www.minds.com/plus?referrer=Shianp Byrna Referral: http://rwrd.io/nhin6yf?c Advertise on Podbean: https://sponsorship.podbean.com/NCPB NorthShore referral: https://www.northshorecare.com/referral-landing-page?referral-code=NSRP-VAOD-IBQQ Robinhood offer: https://join.robinhood.com/nickc1474 Shop MyID: https://lddy.no/1frus eBay Deals: https://t.ly/oBfE

The Game Changers podcast celebrates those true pioneers in education who are building schools for tomorrow. In episode 191 (Part 1) of Game Changers, Phil Cummins joins in conversation with George Hedon. George Hedon is the visionary Founder and CEO of Pause Fest & Awards, Australia's flagship innovation festival known as ‘Innovation Capital'. Under his leadership, Pause Fest has attracted over 80,000 attendees and has become a benchmark for business excellence. Renowned for his creativity and strategic acumen, George has collaborated with global giants like Canva, NASA, BBC, Google, AWS, Adobe, IBM and Blackmagic Design. A sought-after speaker, judge, consultant and mentor, he has contributed to events like SXSW and SingularityU. Holding a Bachelor of Visual Communication from Swinburne University, George is an 'Enabler of Awesome', coffee addict, cyclist and sunset chaser. The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil and Adriano via LinkedIn and Twitter. Let's go!

Tonight's playlist was suggested by a listener, and it tells a story. Peggy Lee, Please Send Me Someone To Love Frank Sinatra with Count Basie & His Orchestra, Fly Me To The Moon (In Other Words) Etta James, The Man I Love Mel Tormé, All I Need Is A Girl Louis Armstrong, Love Walked In Helen Forrest, Make Love To Me Lena Horne, Come on Strong The Dave Brubeck Quartet, Bésame Mucho Billie Holiday, Stars Fell on Alabama Peggy Lee, Aren't You Kind of Glad We Did? Frank Sinatra, Day By Day Billie Holiday, Comes Love Frank Sinatra, Hey! Jealous Lover Louis Jordan, Is You Is or Is You Ain't My Baby Helen Humes, He Don't Love Me Anymore Esther Phillips, I Wish You Love

Garden of Hedon - with Matt Zajac In this episode, we delve into the eclectic world of Matt and his band, Garden of Hedon, a Boston-based psychedelic retro blues group. Matt shares the story behind the band's creation, which began with a solo project during the pandemic and evolved into a full-fledged band after a series of sessions. With half the members hailing from Massachusetts and the other half from New Hampshire, Garden of Hedon creates a unique blend of sounds inspired by various influences, from classic blues to modern psychedelia. Matt discusses the band's upcoming performance at the Music Room on Cape Cod alongside the Grab Brothers and their innovative project recording direct-to-vinyl sessions in New York City. Whether you're a vinyl fan, a Cape Cod local, or just curious about the modern music scene, this episode offers a look into the creative process of a band that's anything but conventional. --- Support this podcast: https://podcasters.spotify.com/pod/show/stephanie7502/support

Our heroes defeated the Hedon and saved Sellgaunt! Butthole (Ryan LaPlante, @theryanlaplante) battled the warforged to its bitter end, Quinny (Tyler Hewitt, @Tyler_Hewitt) discovered a stinky secret weapon before slaying the Hedon, and Gartok (Laura Hamstra, @lauraehamstra) recruited the bronze ravens to the Assguard's town watch. But will Cormyr's army accept Sellgaunt's letter of support or is war about to begin? Also featuring our awesome DM Tom McGee (@mcgeetd). Enjoying Dumb-Dumbs & Dragons? - Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice) - Buy merch on our website (https://dumbdumbdice.com/) - Watch us on YouTube (https://youtube.com/@dumbdumbdice) - Follow us on Instagram (https://instagram.com/dumbdumbdice) - Follow us on Facebook (https://facebook.com/dumbdumbdice) Can't remember a discount code you wanted to use from one of our ads? Find it at https://fableandfolly.com/partners/ Artwork by the brilliant Del Borovic - Website & Portfolio (https://delborovic.com/) - X/Twitter (https://twitter.com/deltastic) The Combat Wheelchair was created by Mark Thompson (@mustangsart) on twitter and can be found here: https://drive.google.com/drive/folders/1ysDrH2vqKz6NSGkf3_0WX5tV-Ch_t_N_ Their ko-fi is: https://ko-fi.com/mustangsart Learn more about your ad choices. Visit megaphone.fm/adchoices

Our heroes are desperately fighting the Hedon in his lair! Butthole (Ryan LaPlante, @theryanlaplante) faced down the warforged's worst while blasting zombies, Quinny (Tyler Hewitt, @Tyler_Hewitt) started to panic when he realized how outclassed he was in combat, and Gartok (Laura Hamstra, @lauraehamstra) killed zombies using a magic helmet and discovered the villain's weakeness. Can Butthole's friends deactivate the Hedon's protective shield in time to save him? Also featuring our awesome DM Tom McGee (@mcgeetd). Enjoying Dumb-Dumbs & Dragons? - Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice) - Buy merch on our website (https://dumbdumbdice.com/) - Watch us on YouTube (https://youtube.com/@dumbdumbdice) - Follow us on Instagram (https://instagram.com/dumbdumbdice) - Follow us on Facebook (https://facebook.com/dumbdumbdice) Can't remember a discount code you wanted to use from one of our ads? Find it at https://fableandfolly.com/partners/ Artwork by the brilliant Del Borovic - Website & Portfolio (https://delborovic.com/) - X/Twitter (https://twitter.com/deltastic) The Combat Wheelchair was created by Mark Thompson (@mustangsart) on twitter and can be found here: https://drive.google.com/drive/folders/1ysDrH2vqKz6NSGkf3_0WX5tV-Ch_t_N_ Their ko-fi is: https://ko-fi.com/mustangsart Learn more about your ad choices. Visit megaphone.fm/adchoices

Our heroes have finally found “the Hedon”! Butthole (Ryan LaPlante, @theryanlaplante) continued to use Sten's body to check for traps, Quinny (Tyler Hewitt, @Tyler_Hewitt) was shot opening the door to the villain's central chamber, and Gartok (Laura Hamstra, @lauraehamstra) put on a helmet and found himself in a zombie body. Can these heroes survive facing off with the warforged known as the Hedon? Also featuring our awesome DM Tom McGee (@mcgeetd). Enjoying Dumb-Dumbs & Dragons? - Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice) - Buy merch on our website (https://dumbdumbdice.com/) - Watch us on YouTube (https://youtube.com/@dumbdumbdice) - Follow us on Instagram (https://instagram.com/dumbdumbdice) - Follow us on Facebook (https://facebook.com/dumbdumbdice) Can't remember a discount code you wanted to use from one of our ads? Find it at https://fableandfolly.com/partners/ Artwork by the brilliant Del Borovic - Website & Portfolio (https://delborovic.com/) - X/Twitter (https://twitter.com/deltastic) The Combat Wheelchair was created by Mark Thompson (@mustangsart) on twitter and can be found here: https://drive.google.com/drive/folders/1ysDrH2vqKz6NSGkf3_0WX5tV-Ch_t_N_ Their ko-fi is: https://ko-fi.com/mustangsart Learn more about your ad choices. Visit megaphone.fm/adchoices

Our heroes are in pursuit of “the Hedon”! Butthole (Ryan LaPlante, @theryanlaplante) interrogated the Night Knives to get an explanation, Quinny (Tyler Hewitt, @Tyler_Hewitt) failed to spot several traps leading to the king throwing a body around, and Gartok (Laura Hamstra, @lauraehamstra) didn't cast beast speech so Quinny dealt with Mr. Bitey instead. But what will our heroes do now that the zombies are activating and Jimbo Jimothy has been kidnapped? Also featuring our awesome DM Tom McGee (@mcgeetd). Enjoying Dumb-Dumbs & Dragons? - Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice) - Buy merch on our website (https://dumbdumbdice.com/) - Watch us on YouTube (https://youtube.com/@dumbdumbdice) - Follow us on Instagram (https://instagram.com/dumbdumbdice) - Follow us on Facebook (https://facebook.com/dumbdumbdice) Can't remember a discount code you wanted to use from one of our ads? Find it at https://fableandfolly.com/partners/ Artwork by the brilliant Del Borovic - Website & Portfolio (https://delborovic.com/) - X/Twitter (https://twitter.com/deltastic) The Combat Wheelchair was created by Mark Thompson (@mustangsart) on twitter and can be found here: https://drive.google.com/drive/folders/1ysDrH2vqKz6NSGkf3_0WX5tV-Ch_t_N_ Their ko-fi is: https://ko-fi.com/mustangsart Learn more about your ad choices. Visit megaphone.fm/adchoices

Presiden baru Taiwan, Lai Ching-te, yang mulai menjabat Senin, memiliki kebijakan luar negeri yang kuat, tetapi menghadapi kebuntuan politik dalam negeri. Sementara itu, Komisi II DPR mengecam sikap sebagian anggota KPU yang menggunakan pesawat jet sewaan dan hidup gemerlap dengan anggaran pemilu.

The legendary entertainer Tony Orlando. He has achieved fifteen Top 40 hits, two Platinum albums, three Gold albums, and millions of copies sold. He won two American Music Awards and a People's Choice Award for Best Male Entertainer. He is best known for his Five #1 hit records: “Tie A Yellow Ribbon ‘Round The Ole Oak Tree,” “Knock Three Times,” “Candida,” “My Sweet Gypsy Rose” and “He Don't Love You (Like I Love You).” “Tie A Yellow Ribbon” was the #1 Billboard Song of the Year for 1973 and went on to become the theme song for Tony Orlando and an anthem for hope, reunion, and renewal in America. He also has a star on the Hollywood Walk of Fame to commemorate his outstanding achievements in the entertainment industry. And outstanding they are! Tony is finishing up on his Farewell Tour and to the delight of his countless fans, Tony will continue hosting his beloved hit radio program Saturday Nights with Tony Orlando on 77 WABC Music Radio, which airs in New York, and surrounding states. We discuss his time with Clive Davis, the creation of Dawn, the hit songs, his friendship with Freddie Prinze, the phenomenon of 'Tie a Yellow Ribbon Around the Old Oak Tree' and more!   #entertainment #entertainer #entertainmentnews #celebritynews #celebrity #tonyorlando #freddieprinze #robinwilliams #clivedavis #hitsongs #hitsong #USO #bobhope #thetonightshow #varietyshow #tvshow 

The legendary entertainer Tony Orlando. He has achieved fifteen Top 40 hits, two Platinum albums, three Gold albums, and millions of copies sold. He won two American Music Awards and a People's Choice Award for Best Male Entertainer. He is best known for his Five #1 hit records: “Tie A Yellow Ribbon ‘Round The Ole Oak Tree,” “Knock Three Times,” “Candida,” “My Sweet Gypsy Rose” and “He Don't Love You (Like I Love You).” “Tie A Yellow Ribbon” was the #1 Billboard Song of the Year for 1973 and went on to become the theme song for Tony Orlando and an anthem for hope, reunion, and renewal in America. He also has a star on the Hollywood Walk of Fame to commemorate his outstanding achievements in the entertainment industry. And outstanding they are! Tony is finishing up on his Farewell Tour and to the delight of his countless fans, Tony will continue hosting his beloved hit radio program Saturday Nights with Tony Orlando on 77 WABC Music Radio, which airs in New York, and surrounding states. We discuss his time with Clive Davis, the creation of Dawn, the hit songs, his friendship with Freddie Prinze, the phenomenon of 'Tie a Yellow Ribbon Around the Old Oak Tree' and more!   #entertainment #entertainer #entertainmentnews #celebritynews #celebrity #tonyorlando #freddieprinze #robinwilliams #clivedavis #hitsongs #hitsong #USO #bobhope #thetonightshow #varietyshow #tvshow 

Hai, Sobat Cuan... Siapa nih yang ketinggalan informasi dalam sepekan ini? Eitss.. ga perlu khawatir ya, karena kita udah rangkumin informasi-informasi menarik yang terjadi selama sepekan ini, khusus untuk Sobat Cuan.. Mulai dari laga Timnas Indonesia U-23 di Piala Asia U-23, hingga media sosial yang dihebohkan dengan terkuaknya mahasiswa penerima KIP Kuliah, namun gaya hidupnya bermewah-mewahan alias hedon.. Langsung aja yuk disimak informasi lengkapnya di segmen RISKAN! (Rekap Informasi Sepekan) bersama Angel Valentina & Galih Ichsan, berikut ini.. Enjoy! Sobat Cuan, jangan lupa ya untuk follow IG @cuap_cuan, dan juga subscribe youtube channel Cuap Cuap Cuan, kemudian di like, comment dan share ya. Salam cuan! 

Het is dè prijs voor cultuurmakers die nog op de middelbare zitten: Kunstbende. Gisteren vonden de Overijsselse vooronden plaats in poptempel Hedon in Zwolle. Jonas Roele (18) en Micha Verbeek (17) stonden zondagavond op het hoogste podium. Op 29 juni dingt hun film ‘De Realist' mee om de eerste plaats bij de landelijke finale in De Melkweg in Amsterdam. Daar winnen is een ticket voor vertoning op het Nederlands Film Festival in september.

De serie komt tot een eind, dus het is tijd voor het slotstuk. Rico, Sticks en Delic zien elkaar in poppodium Hedon in Zwolle, op de plek waar het drietal elkaar leerde kennen. Kees spreekt met hen over de sleutelmomenten uit de serie.   Wat vond Sticks van Rico's competitiedrang op Beestenboel? Wat deed Rico's openhartige verhaal over zijn verslavingen met de anderen? En kijken Sticks en Rico nu anders naar Delic's besluit om te stoppen met Opgezwolle?

This R&B singer was raised in Chicago, in the Cabrini-Green housing projects. He sang in the Northern Jubilee Gospel Singers with Curtis Mayfield. Jerry Butler and Mayfield joined a group which later became the “Impressions.” A couple years later he left the group for a solo career. Jerry was a soul singer, musician, producer, and politician. He had over 55 Billboard Pop and R&B hits. Maybe you remember Tony Orlando and Dawn reviving his hit “He Don't Love You Like I Love You.” This was a very short interview and I don't remember why. Apparently, he called and I didn't have much time left in the show. We did have time to talk about one of his hits that he was kidded about by many DJs around the country. Jerry is in the Rock and Roll Hall of Fame with the Impressions. In my opinion, he should be in there as a solo artist.

Billy's back!  Bill Donavan, bass player extraordinaire for The Pub Kings and Garden of Hedon hangs out for a bit after a PK practice for drinks and conversation about Super Bowl parties, tequila and all things cover band related.  We also give you a sneak peak at the 2024 Party For The Pantry happening at GlenPharmer Distillery in Franklin on March 29th!  This benefit for the Franklin Food Pantry features three great local cover acts... Jon-Paul Royer, The Pub Kings and South Street Six.  Please like the DQYDJ Facebook page https://www.facebook.com/DontQuitYourDayJobThePodcast If you'd like to be a guest or would like to comment on something you heard on the podcast or have a topic suggestion, drop me a note at raywmrc@gmail.com Please subscribe wherever you get your podcasts and leave a review on Apple Podcasts!   Presented by... Ray's Automotive in Milford, MA Rubber Chicken Comics in Bellingham, MA Tim Rice Photo in Medway, MA Rushford and Sons Brewhouse in Upton, MA   Opening theme by ZeroDrift Closing theme by Fitch Proctor Incidental Music by Chiller Whale

Mattias från bandet Hedon gästar mig i detta avsnittet. Låten efter intervjun heter "Legions"

In deze special duiken Laurens & Wytse in 'Blauwe Lava', een project waarin Zwolse jongeren van Fakkelteit werken aan een comic, soundtrack én samenkomend event 22 november 2023 in Hedon Zwolle. De comic is gebaseerd op de verhalen van de jongeren van Fakkelteit. In de strip komen thema's aan bod zoals het overwinnen van angsten en streven naar zelfvertrouwen. De jongeren van Fakkelteit transformeren in de comic en op de soundtrack tot superhelden en schurken, waarbij voortdurend een strijd woedt tussen goed en kwaad. Ondertussen vormt een vulkaan een grote bedreiging voor de stad Zwolle. De straten liggen bezaaid met blauwe lava, waardoor de jongeren worden gehinderd om hun eindbestemming te bereiken: Hedon Zwolle. Liefhebbers van comics en hiphop worden tijdens deze avond op hun wenken bediend: er zijn optredens van de jongeren van Fakkelteit, Rime Riche en De Grijze Muis. Laurens van Walbeek verzorgt de visuele aspecten, en Pivo zal als host van de avond fungeren. Bovendien krijgt elke bezoeker van de release party de tweedelige comic gratis mee naar huis. De deuren van Hedon openen om 20:00 uur en de toegang is gratis. Blauwe Lava is een gezamenlijk project van Studio Laurens van Walbeek, Clizzay's World, Rime Riche en De Grijze Muis, in samenwerking met Fakkelteit en Travers Welzijn. Dit project is mede mogelijk gemaakt dankzij het Fonds voor Cultuurparticipatie, dat deelname aan cultuur stimuleert. Project te volgen via https://www.instagram.com/studiolaurensvanwalbeek en https://www.instagram.com/clizzaysworld Fakkelteit Zwolle https://www.instagram.com/fakkelteitzwolle Blauwe Lava Release Party 22 november, Hedon Zwolle https://hedon-zwolle.nl/voorstelling/31811/blauwe-lava MC Donutcare https://www.instagram.com/mc.donutcare MC Blauwe https://www.instagram.com/mc.blauwe --- Send in a voice message: https://podcasters.spotify.com/pod/show/achterhalen/message

Bertolf was al eens te gast in Gitaarmannen, de podcast. Maar zijn nieuwe album vormt dé reden voor een update gesprek. Bertolf Lentink, de artiest achter het album 'Bluefinger'. Ontdek hoe Zwolle's poppodium Hedon de inspiratie werd voor deze muzikale reis die eindigde in Nashville. Bertolf onthult het verhaal achter de unieke bluegrass-invloeden van het album en zijn samenwerking met de legendarische dobro-speler, Jerry Douglas. Luister naar zijn ervaringen en uitdagingen bij het samenbrengen van getalenteerde muzikanten voor 'Bluefinger' en de betekenis achter de titel. Daarnaast hoor je in 'De Favoriete Gitaar van' een prachtige Gitaar van de maand. Aangeboden door 'The Fellowship of Acoustics'. Het betreft een prachtige Martin D35 waar we Bertolf op horen spelen. Daarnaast heeft Bertolf een prachtige tip aan zijn jongere zelf. Mis ook vooral het nieuwe onderdeel 'Dijkmans Dilemma' niet! Jij als kijker en luisteraar maakt kans op een speciaal door Bertolf uitgekozen set. Let goed op hoe je kans kan maken op die prachtige set!! TIMESTAMPS 00:00 - INTRO 00:54 - HOE IS HET IN DE STAD VAN DE BLAUWVINGERS? 01:20 - WAAR KOMT DE ALBUMTITEL VANDAAN, BLUEFINGER? 02:27 - WIE ZIJN DE WERELDBEROEMDE MUZIKANTEN DIE MEESPELEN OP BLUEFINGER? 04:30 - WAS JERRY DOUGLAS DE HOOFDPRIJS? 05:34 - ZIJN ER MUZIKANTEN DIE OP Z'N LIJSTJE STONDEN, MAAR DIE HIJ NIET HEEFT KUNNEN REGELEN? 06:51 - DE EERSTE DAGEN IN NASHVILLE EN EEN BELANGRIJK BELLETJE VAN JERRY DOUGLAS... 10:20 - HOE ZIET EEN DAG MET DEZE GROOTHEDEN IN DE STUDIO ERUIT 13:52 - HOE GOED WAS BERTOLF ZELF VOORBEREID? 15:33 - ER KOMT EEN DOCU OP TV, UUR VAN DE WOLF! 17:05 - ZITTEN ER NOG EMOTIONELE MOMENTEN IN DE DOCU 18:09 - WAAROM MET EEN BEST OFF NAAR NASHVILLE? 19:37 - VIELEN ALLE LIEDJES MAKKELIJK OM TE KATTEN NAAR EEN BLUEGRASS VERSIE? 21:41 - IS EEN BLUEGRASS PLAAT COMMERCIEEL INTERESSANT? 23:14 - DE ROUTE NAAR HET BUITENLAND? 26:37 - IN NEDERLAND HEEFT BERTOLF DE PLAAT AFGEMAAKT 27:33 - KOMT JERRY DOUGLAS NAAR NEDERLAND?? 29:08 - LENTINK AND SON 31:49 - DE FAVORIETE GITAAR VAN 37:26 - KORTING BIJ TFOA MET DEZE KORTINGSCODE 38:16 - LET'S TALK GEAR 42:42 - WELKE YOUTUBE KANALEN HOUDT BERTOLF IN DE GATEN 44:03 - LINKJE NAAR JENS LARSSEN 44:25 - DIJKMANS DILEMMA 50:54 - ZO MAAK JE KANS OP DEZE SET VAN DIJKMANS MUZIEK! 51:14 - DE TIP VAN BERTOLF ------ Deze podcast wordt mede mogelijk gemaakt door The Fellowship of Acoustics. Met de kortingscode "GITAARMANNEN" krijg je 5% korting op ALLES in de shop. Ga naar www.tfoa.eu. Disclaimer: Ik ga zelf volledig over de inhoud van de podcast, daar verandert niks aan. VOLG ME HIER: Spotify: https://open.spotify.com/artist/08cpwYrPWo8Xkxl9qdiDP2?si=1bbd83a6a82a43cc Instagram: www.instagram.com/EdStruijlaart / Instagram: www.instagram.com/Gitaarmannen Facebook: www.facebook.com/edstruijlaartofficial YouTube: www.youtube.com/edstruijlaartl Twitter: www.twitter.com/EdStruijlaart Website: www.edstruijlaart.nl

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. 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 available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Bill Donovan from The Pub Kings and Garden of Hedon is BACK to talk about original vs cover music, Cardi B, music socials and more! Please like the Facebook page https://www.facebook.com/DontQuitYourDayJobThePodcast If you'd like to be a guest, drop me a note at raywmrc@gmail.com   Presented by... Ray's Automotive in Milford, MA Rubber Chicken Comics in Bellingham, MA Tim Rice Photo in Medway, MA Rushford and Sons Brewhouse in Upton, MA UpFront Guitars in Bellingham, MA   Opening theme by ZeroDrift Closing theme by Fitch Proctor

My buddy Bill from The Pub Kings stops by to chat about original music and bands.  Bill is a member of Garden of Hedon.  Check them out wherever you get your music and at www.gardenofhedon.com. Please like the Facebook page https://www.facebook.com/DontQuitYourDayJobThePodcast If you'd like to be a guest, drop me a note at raywmrc@gmail.com   Presented by... The Looney Bin in Laconia, NH Rubber Chicken Comics in Bellingham, MA Tim Rice Photo in Medway, MA Rushford and Sons Brewhouse in Upton, MA UpFront Guitars   Opening theme by ZeroDrift Closing theme by Fitch Proctor

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¿QUE SABES DE LA HISTORIA DE "WE ARE THE WORLD", "KISS ON MY LIST", "HE DON'T LOVE YOU",...? ¿BAILA CON NOSOTROS "KALIMBA DE LUNA", "SATIN SOUL", "THE GREASE MEGAMIX", "CANDY SHOP",...? ¿CANTA LOS EXITOS DE PHIL COLLINS, EROS RAMAZZOTTI, ELTON JOHN, MARIA TERESA CHACIN, CHER, CARPENTERS, ALABAMA, YORDANO,... ? y mucho mas! De colección! !! --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

If you're a heavy drinker with aspirations of quitting, you'll know that the thought of the first day without booze is scarier than anything. This podcast series begins on the night of Vincent Hero's last alcoholic beverage and chronicles the struggles and the satisfactions of every single pain in the a** day since. Follow along and listen to a borderline autistic idiot with a shi**y attitude, be honest and re**rded, in an attempt to remain sober.  --------------------------------------------------------

March 15th, 2023 Matt Zajac is a good friend who is hustling around the local cover scene with his solo act and, from time to time, with his for-benefits-only band Charity Case. Matt is also a very talented original artist.  His band, Garden of Hedon, is releasing a new album soon.  Matt stopped by my morning show recently to talk about the album.  Check it out!   Garden of Hedon Online Garden of Hedon on Facebook  

In this episode, Christina interviews Lola Toscano, the founder of Hedoné, a European-style adult sensual retreat that promotes ethical hedonism and supports victims of female genital mutilation through its NGO project, LOVE THE FLOWER. Lola shares her childhood story, which inspired her to create containers for sexuality to be explored through the feminine. She also talks about the origins of Hedoné and its mission to provide a safe and conscious space for individuals to discover sexuality. Hedoné is coming to Austin, TX on March 22-27, 2023, and listeners can use the promo code WEDEEPEN to join. Tune in to learn more about the importance of conscious sexuality education and the benefits of exploring it in a safe and supportive environment. To learn more about Lola's offerings, visit her website at hedone.world and follow her on Instagram @lolatoscamor. Use promo code WEDEEPEN to join for the Hedoné March 2023 in Austin, TX. Click here to register. To connect with Christina and explore WeDeepen's matchmaking database and 1:1 coaching services, visit wedeepen.com and follow them on Instagram at @christinaweber and @wedeepen.  

Harvey Brownstone conducts an in-depth interview with Tony Orlando, Superstar Recording Artist and Entertainer About Harvey's guest: Today's special guest, Tony Orlando, is one of America's most beloved singers, who's been entertaining us for the past 6 decades – starting as a 15 year old member of the doo-wop group “The Five Gents”, then as a teenage heartthrob solo artist with his hits “Halfway to Paradise” and “Bless You”.    And then, after spending several years as a  successful producer, record company and music publishing executive, he quite accidentally returned to singing, and unexpectedly went to #1 on the charts, which led him to create the phenomenally successful group, “Tony Orlando and Dawn”.    They released 20 Top 40 singles including “Candida”, “Knock 3 Times”, “Vaya Con Dios”, “Say Has Anybody Seen My Sweet Gypsy Rose”, “He Don't Love You Like I Love You”, “Cupid”, “Midnight Love Affair”, and everybody's favourite, “Tie a Yellow Ribbon ‘Round the Ole Oak Tree”.   That song spent over a month in the #1 spot on the pop music charts and is one of the most recorded songs in history, with over 1,000 cover versions.  The song won a Grammy Award in 1974 and was named song of the year at the American Music Awards.  In fact, in 2018, Billboard Magazine ranked “Tie a Yellow Ribbon” at #46 on its list of top 100 songs of all time.   Our guest, along with his wonderfully talented singing partners Telma Hopkins and Joyce Vincent Wilson, hosted their own TV prime time variety show, “The Tony Orlando and Dawn” show, which ran for 4 seasons.   SInce 1977, our guest resumed his solo career, starring in TV movies including “300 Miles for Stephanie” and “The Rosemary Clooney Story”, in which he portrayed Rosemary Clooney's husband, José Ferrer.  He also did a highly successful “Tony Orlando and Dawn” reunion tour.  He starred on Broadway twice, in “Barnum”, and “Smokey Joe's Café”.  And he continues to headline in Las Vegas, Branson Missouri, and touring all over the country.   In 2002 he wrote a highly compelling, brutally honest and deeply poignant, intimate memoir entitled, “Halfway to Paradise”, which is truly one of the most memorable celebrity memoirs I've ever read.   He has won the Casino Entertainer of the Year Award, the Best Las Vegas All Around Entertainer Award 4 times, and, prior to that, 3 times in Atlantic City.  He's won the Jukebox Artist of the Year Award, The Ellis Island Medal of Honor, and he received The Bob Hope Award for Excellence in Entertainment from the Congressional Medal of Honor Society, acknowledging his efforts on behalf of United States veterans.   And, in 1990, he received a star on the Hollywood Walk of Fame. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://tonyorlando.com/https://www.facebook.com/OfficialTonyOrlando/https://twitter.com/TonyOrlandohttps://open.spotify.com/artist/6PNZ6ZfwWLiUA2BrranFl3 #TonyOrlando    #harveybrownstoneinterviews

On this verrrryyy special episode Rob and Lach sit down with George Hedon and Garry Williams to talk all things Pause Fest/Awards. George and Garry are both serious players in the Australian startup ecosystem, you should seriously check out their shit!!YOU CAN FIND US ON...The web ~ https://linktr.ee/funnybusinesspodcastInstagram ~ https://www.instagram.com/funnybusiness_au/CONTACT ME (Lach) ~ lach@wellbeingsgroup.comDREAM BIG SOCIAL CLUB 2022. Hosted on Acast. See acast.com/privacy for more information.

We had the pleasure of interviewing Winona Oak over Zoom video.Acclaimed singer-songwriter Winona Oak has announced today's release of her long-awaited debut album, Island of the Sun, available everywhere now via Neon Gold/Atlantic Records.Island of the Sun further includes such critically acclaimed highlights as “Jojo,” “Baby Blue,” “Break My Broken Heart,” “Piano In The Sky,” and the album's stunning title track, “Island of the Sun,”.Winona – who just wrapped her first-ever North American concert tour supporting British alt-pop duo Oh Wonder – will continue to celebrate Island of the Sun with an eagerly anticipated EU/UK tour alongside Alec Benjamin. For updates, please visit www.winonaoak.com. Born and raised in the Nordic forests of Sweden on a small crop of land called Sollerön – known as the Island of the Sun and the inspiration for her extraordinary debut album – Winona Oak is every bit as enchanting as her origin story. With a childhood spent encountering more animals than people, she grew up a trained horse acrobat and pursued creative expression however she could, writing poetry and songs and playing violin and piano from a young age. After moving to Stockholm to pursue her passion for music, Winona honed her craft and landed a deal with Atlantic/Neon Gold Records. Soon after, the budding songstress met Australian electronic maestro What So Not and the two co-wrote his singles “Better,” “Stuck In Orbit“ and “Beautiful,” which highlighted Winona as the track's featured artist. She then went on to collaborate with The Chainsmokers on their RIAA gold-certified hit single, “Hope” and soon followed with her runaway success debut solo single, ”He Don't Love Me.” In 2020, Winona released her first EP, Closure, followed quickly by her critically acclaimed sophomore EP, SHE, earning praise from the likes of PAPER, which declared, “Winona Oak is a name you should know.” Winona celebrated SHE with a stirring live performance of the title track as part of CBS' The Late Show with Stephen Colbert's #PLAYATHOME series, streaming HERE. 2021 saw Winona collaborate with breakout bedroom pop star ELIO on “Nobody Loves Me.” Now, with the long-anticipated arrival of Island of the Sun, Winona Oak fully affirms her remarkable promise as one of today's most original and compelling new artists. We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #WinonaOak #IslandOfTheSun#NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Zah Was Busy Doing Up KFC Radio This Time LOL, (He Don't Rate The Ting) So The Lads Held It Together This Week With Special Guest AGT, Aka, Man Like Alex From Kop TV!!

For artists, their work is more than just expressing their feelings. It can serve a greater purpose and represent a bigger ideology. It's refreshing to see how the NFT community has widely celebrated the appreciation for art. Visual artist Lola Toscano sits with Catherine Kontos to talk about her artworks and blockchain NFT projects. Her first art exhibition became an art movement called Hedoné, which centered on the liberation and pleasure of psychomagic. She is currently working on opening their first Hedonia, a retreat center and community space built around a historical hacienda in Izamal. Listen in and learn more as Lola shares how her first art exhibition has grown into what it stands for today. Love the show? Subscribe, rate, review, and share! https://retreatboss.com/podcast

Nude saunas, filthiest jobs, DJ's with biggest coke habits, donkey f***ers and more. One of the great friends in one of the greatest cities, it's Joel Havea in Hamburg. More on Joel: https://joelhavea.com/ More on Newski: https://brettnewski.com/ Support the pod: https://www.patreon.com/brettnewski1 TOUR: May 25 Hedon, ZWOLLE, NL May 26 In de Rimboe, ERMELO, NL Jun 11 - Sabbatical Brewing - MANITOWOC, WI Jun 23 - Summerfest w Barenaked Ladies - MILWAUKEE, WI Jun 25 - secret show Amherst - CLEVELAND, OH Jun 26 - Sounds of Summer, Westerville - (COLUMBUS, OH) Jun 28 - Anderson Gardens - ROCKFORD, IL   July 2 - Riverfront Terrace - WI DELLS, WI July 3 - Union Terrace - MADISON, WI  July 7 - Regner Park Fest - WEST BEND, WI   Aug 5/6 - Mile of Music Festival- APPLETON, WI Aug 13 - ska museum secret show - LACROSSE, WI Aug 19 - Alternating Currents Festival - DAVENPORT, IA

Holland's own Bony Macaroni and Brett Newski broadcast from Hamburg Germany during their 2022 European Tour. They discuss legal drugs, PTSD, working at a chicken slaughterhouse, and playing a concert at a Berlin sex club. More on Bony: https://www.wearebonymacaroni.com/ More on Newski: https://brettnewski.com/ Support the podcast: www.patreon.com/brettnewski1 NEWSKI & BONY on TOUR May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL ---- **USA (Newski headline)** Jun 11 - Sabbatical Brewing - MANITOWOC, WI Jun 23 - Summerfest w Barenaked Ladies - MILWAUKEE, WI Jun 25 - secret show Amherst - CLEVELAND, OH Jun 26 - Sounds of Summer, Westerville - (COLUMBUS, OH) Jun 28 - Anderson Gardens - ROCKFORD, IL July 2 - Riverfront Terrace - WI DELLS, WI w killAniston (MX) July 3 - Union Terrace - MADISON, WI w killAniston (MX) July 7 - Regner Park Fest - WEST BEND, WI w killAniston + Genievieve Heywerd AUSTRIA & GERMANY w/ Nada Surf July 9 - Sublime - AFLENZ, AT July 10 - Airport Event Hall - OBERTRAUBLING, DE July 11 - Posthof Zeitkultur Am Hafen - LINZ, AT July 12 - Rockhouse - SALZBURG, AT July 13 - Conrad Sohm - DORNBIN, AT  

Newski and the Scott Terry aka "Scotto" of rock touring powerhouse Red Wanting Blue let it rip mid-pando after meeting on the Rock Boat.  More on RWB: https://www.redwantingblue.com/ If u like the pod, please support on patreon: https://www.patreon.com/brettnewski1 NEWSKI ON TOUR IN EUROPE April 29 - Willemeen, ARNHEM, NL April 30- Metropool, ENSCEHDE, NL May 4 - Franzis Kulturzentrum, WETZLAR, DE May 5 - Knust Open Air, HAMBURG, DE May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL   Jun 11 - Sabbatical Brewing - MANITOWOC, WI Jun 25 - secret show Amherst - CLEVELAND, OH Jun 26 - Sounds of Summer, Westerville - (COLUMBUS, OH) Jun 28 - Anderson Gardens - ROCKFORD, IL   AUSTRIA & GERMANY w/ Nada Surf July 9 - Sublime - AFLENZ, AT July 10 - Airport Event Hall - OBERTRAUBLING, DE July 11 - Posthof Zeitkultur Am Hafen - LINZ, AT July 12 - Rockhouse - SALZBURG, AT July 13 - Conrad Sohm - DORNBIN, AT  

Unprecedented episode as Newski sits down with his Dad to talk about basketball officiating, childhood wobbles, comedic fails, pursuing odd careers, and sweet retirement.  Please support the pod here: https://www.patreon.com/brettnewski1 More Newski: https://brettnewski.com/ NEWSKI ON TOUR in EUROPE now April 29 - Willemeen, ARNHEM, NL April 30- Metropool, ENSCEHDE, NL May 4 - Franzis Kulturzentrum, WETZLAR, DE May 5 - Knust Open Air, HAMBURG, DE May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL   Jun 11 - Sabbatical Brewing - MANITOWOC, WI Jun 25 - secret show Amherst - CLEVELAND, OH Jun 26 - Sounds of Summer, Westerville - (COLUMBUS, OH) Jun 28 - Anderson Gardens - ROCKFORD, IL   AUSTRIA & GERMANY w/ Nada Surf July 9 - Sublime - AFLENZ, AT July 10 - Airport Event Hall - OBERTRAUBLING, DE July 11 - Posthof Zeitkultur Am Hafen - LINZ, AT July 12 - Rockhouse - SALZBURG, AT July 13 - Conrad Sohm - DORNBIN, AT  

Willy Porter goes over to Brett Newski's house in Milwaukee where the two discuss having a pet crow, dodging existential crises, touring Norway, keeping sane and the best creatures to be other than human.  More on Willy: https://willyporter.com/ If you enjoy the pod, please support the arts here: https://www.patreon.com/brettnewski1 NEWSKI US TOUR 4/5 - NYC @ Bowery Electric 4/7 - Washington DC @ Jammin Java 4/10 - Philadelphia, PA @ Backyard show  4/12 - Atlanta, GA @ Smiths Old Bar 4/13 - Orlando, FL @ Wills Pub 4/14 - Tampa, FL @ Crowbar 4/15 - Clearwater, FL @ Music4Life Arts Center   EUROPE  April 29 - Willemeen, ARNHEM, NL April 30- Metropool, ENSCEHDE, NL May 4 - Franzis Kulturzentrum, WETZLAR, DE May 5 - Knust Open Air, HAMBURG, DE May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL

But even if He Doesn't! I know He's able and I know he can.... But even if He Don't.... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/buster-holzer/support

Newski sits down with his youngest friend, Ben Spatol, to see what the youth are up to.  Support the pod: https://www.patreon.com/brettnewski1 More on Newski: https://brettnewski.com/ NEWSKI ON TOUR: 4/5 - NYC @ Bowery Electric 4/7 - Washington DC @ Jammin Java 4/10 - Philadephia, PA @ secret show 4/12 - Atlanta, GA @ Smiths Old Bar 4/13 - Orlando, FL @ Wills Pub 4/14 - Tampa, FL @ Crowbar 4/15 - Clearwater, FL @ Music4Life Arts Center   EUROPE FULL BAND April 29 - Willemeen, ARNHEM, NL April 30- Metropool, ENSCEHDE, NL May 4 - Franzis Kulturzentrum, WETZLAR, DE May 5 - Knust Open Air, HAMBURG, DE May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL   *denotes solo rsvp - hello@brettnewski.com for secret shows

Pete D of The Figgs is back with Brett Newski on Dirt from the Road.  More on Pete: https://www.petedonnellymusic.com/ Support the Pod: https://www.patreon.com/brettnewski1 NEWSKI US TOUR... 4/5 - NYC @ Bowery Electric 4/7 - Washington DC @ Jammin Java  4/12 - Atlanta, GA @ Smiths Old Bar 4/13 - Orlando, FL @ Wills Pub 4/14 - Tampa, FL @ Crowbar 4/15 - Clearwater, FL @ Music4Life Arts Center   EUROPE FULL BAND April 29 - Willemeen, ARNHEM, NL April 30- Metropool, ENSCEHDE, NL May 4 - Franzis Kulturzentrum, WETZLAR, DE May 5 - Knust Open Air, HAMBURG, DE May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL

The Bones of JR Jones and Newski sit down on a porch in LA during their west coast tour.  More on JR: http://thebonesofjrjones.com/ Support the pod by becoming a patron: www.patreon.com/brettnewski1 NEWSKI ON TOUR: 4/5 - NYC @ Bowery Electric 4/7 - Washington DC @ Jammin Java 4/9 - Richmond, VA. @ Secret Show (rsvp to this email) 4/12 - Atlanta, GA @ Smiths Old Bar 4/14 - Tampa, FL @ Crowbar   EUROPE FULL BAND April 29 - Willemeen, ARNHEM, NL April 30- Metropool, ENSCEHDE, NL May 4 - Franzis Kulturzentrum, WETZLAR, DE May 5 - Knust Open Air, HAMBURG, DE May 6 - hansa48, KIEL, DE May 7- linde, HOF, DE May 8 - Lost Weekend, MUNICH, DE May 9 - Die Scherbe GRAZ, AT* May 11 - Treppenhaus RORSCACH, CH* May 12- muz NUREMBURG, DE* May 13- Poppodium de Meester, ALMERE, NL May 25 Hedon, ZWOLLE, NL  

Is the song "He Don't Know Nothin' Bout It" an official hater song? Our opinion on Tank's song "Can't Let It Show Our list of some of the best/worst song remakes. Be sure to tell a friend to tell a friend about The Neutral Corner Podcast available on Spotify, Apple Podcast, Google and Breaker. Thank you all for the support. Feel free to leave a comment or leave a question and we will discuss it in our next broadcast. --- Send in a voice message: https://anchor.fm/neutral-corner/message

Hosted By Sam Smith1. Saturday Night - Special Formula Band feat. Jeff Floyd2. The Power of The One - Bootsy Collins3. All Is One - Tony Lindsay4. It's You - Ronny Jordan5. Southern Girl - Lenny Williams6. Looking For Love - Michelle Lawson7. Off The Grid - JD'S Time Machine Feat. Cornell C.C. Carter8. We Won't Stop - One Way 9. I Loved You Enough - Dee Dee Simon10. Funk Onion - SIlverTwins of Funk11. If You Want Me To Stay - Ari Lennox Feat. Anthony Ramos12. It's Cool - Instant Funk13. Im Gonna Take My Time - Lamont Dozier Jr14. Feel Good - Jacky Clark Ft Mary J. Blige15. Never Gonna Give You Up - 3TOB (Tony Toni Toné Original Band)16. Love And Affection - Art Madison17. Groove Mission - David Sea18. When the World Says No - J.D'S Time Machine feat. Lorenzo Owens19. Nothin - Toni Braxton20. Don't Waste My Time - Usher ft. Ella Mai21. There Ain't Nothin' Better - Robert Brookins22. Kick It - Rena Scott23. Don't You Know That - Rahsaan Patterson 24. Beautiful - Mason Rd25. Put Me On (Remix) - Bey Bright26. Thighs High (Grip Your Hips And Move) - Tom Browne 27. Situationship - Alli Starr28. All Of My Love - Charlie Wilson ft. Smokey Robinson29. If You're Thinking About Leaving - Calvin Richardson30. Cha Cha Cha - DJ Kool 31. Make U Happy - Force MDs32. Groove Thang - VanJess33. Close To You - Will Downing 34. Trust Me - Kool & The Gang35. Flirtin' With Forever - Wayne Brady Ft. Cat Gray36. Work That - The Party King 37. Lift Every Voice And Sing - Alvin Chea (From Take 6)38. Let It Snow - Boyz II Men Feat. Brian Mcknight39. No One - D Folks40. I'm Serious - CJ's Connection 41. Groove You - DW3 Feat. Rebecca Jade42. The Friend Zone - Ingram Street43. Sweet Side - Raquel Rodriguez44. He Don't Know Nothin' Bout It - Jam & Lewis · Babyface 45. Secret Garden - Omar Wilson, Raheem DeVaughn, Shawn Stockman & Sisqo

Hosted By Sam Smith1. XMAS Blues - Big Tyme2. Can't Stop - After 73. Its Never Too Late To Try - Billy Ocean 4. Whisper - Charlie Wilson Feat. Keith Sweat5. All Of My Love - Charlie Wilson ft. Smokey Robinson6. Party All The Time - Eddie Murphy 7. Let's Get Married - Jagged Edge 8. I'm Dreamin' - Christopher Williams9. Treat You Right - Luther Vandross 10. Do You Love What You Feel - Rufus & Chaka Khan11. All Is One (Chill Latin Remix) - Tony Lindsay12. Never Gonna Give You Up - 3TOB (Tony Toni Toné Original Band) 13. Don't Let It Go to Your Head - Chantay Savage14. You Are My Starship - The Dazz Band 15. Somebody - Sheena Easton16. We Go A Long Way Back - Bloodstone17. Walking On Air - Babyface feat. El DeBarge18. Haven't your heard - K-Fox19. Island Life - Janet Jackson 20. Groove Mission - David Sea 21. Everyday People - Mary J. Blige 22. Merry Christmas Baby - Charles Brown23. Laid Back Girl - Maze 24. Love Always Wins - Kem feat. Erica Campbell 25. Kick It - Rena Scott 26. Sweet Tooth - Teena Marie27. Saturday Night - Special Formula Band feat. Jeff Floyd 28. Bangin' The Boogie - René & Angela29. Don't Get It Twisted (Remix) - Pressha30. LOVE - Michael Jackson & 10 artists31. Have I Told You Lately That I Love You - Chris Jasper 32. Funk Onion - SIlverTwins of Funk33. Stay - The Controllers34. Funky Weekend - Mint Condition35. Medley, Innocent- - Alexander O Neal36. He Don't Know Nothin' Bout It - Jam & Lewis · Babyface 37. Make Sure You're Home - Profyle feat Joe & Chico DeBarge38. Song for You - Jonathan Butler39. Sweet Side - Raquel Rodriguez

Hosted By Sam Smith1. I Wanna Know Roni Remix - Joe2. Meeting In The Ladies Room - Klymaxx3. 4 Woman - Cheryl Cooley & Klymaxx4. There Ain't Nothin' Better - Robert Brookins5. Wanna Get With U - Guy6. Goodbye My Love - Brian Mcknight7. Best Part of Me - Anthony AK King8. Is It Good To You - Tammy Lucas & Teddy Riley9. Get Ready - Brian Culbertson10. Ol' School Love - Gwen Majors11. Solid - Ashford & Simpson12. Saturday Night - Special Formula Band feat. Jeff Floyd13. Runnin' Out - After 714. You Stood Me Up - Today15. Adieu - Trina Broussard16. Piece of Heaven - The British Collective17. Not Thru Being with You - Michael Jeffries18. Bring Me Up - October London Feat Faith Evans 19. Ol' School Love - Gwen Majors 20. Change Of Heart - Change 21. She's Magic - Az Yet22. Receipts - Dave Hollister Ft. Angie Stone23. Destiny - Sir Charles Jones24. Have I Told You Lately That I Love You - Chris Jasper25. He Don't Know Nothin' Bout It - Jam & Lewis · Babyface26. Good Kind Of Lovin - Jay King27. Good Time - Earl St. Clair 28. Coming Home To You - Blackstreet 29. Dont Want You Back - Leela James 30. Me & You - Angel31. Kick It - Rena Scott32. Funk Onion - SIlverTwins of Funk33. This Kind of Love - TanQueray Hayward 34. All Of My Love - Charlie Wilson ft. Smokey Robinson35. Waiting On The World To Change - Kevin Ross-36. Im Gonna Take My Time - Lamont Dozier Jr37. Sweet Side - Raquel Rodriguez38. Love Always Wins - Kem feat. Erica Campbell39. Dance - Toni Braxton 40. All Is One (Chill Latin Remix) - Tony Lindsay 41. Tootsie Roll - 69 Boyz

Hosted By Sam Smith 1. I Heard It Through The Grapevine - The MoBo AllStars2. Not Thru Being with You - Michael Jeffries 3. Wanna Get With U - Guy4. Change Of Heart - Change5. Thank You Remix - Boyz II Men6. 5 things you didn't know about Native Americans - 7. Get Ready - Brian Culbertson8. Im Gonna Take My Time - Lamont Dozier Jr 9. All Is One - Tony Lindsay10. Best Part of Me - Anthony AK King11. Ol' School Love - Gwen Majors12. Love Always Wins - KEM 13. A Change Must Come - DBJ 14. Waiting On The World To Change - Kevin Ross15. It's Cool - Instant Funk16. When the World Says No - J.D'S Time Machine (feat. Lorenzo Owens)17. He Don't Know Nothin' Bout It - Jam & Lewis · Babyface18. Little Known Facts About Native Americans - 19. Facts Of Life - Jeff Lorber 20. Thank U - Michelle Williams21. You Love Me (Best of My Love) - Anita Wilson22. Bootsy Off Broadway - Bootsy Collins 23. All Of My Love ft. Smokey Robinson - Charlie Wilson24. 4 Evermore - Anthony David 25. Make It Rain - Lukas Setto26. Soul Symphony - Jarrod Lawson 27. Something - Jack Tyson Charles28. Sweet Side - Raquel Rodriguez29. Common MISCONCEPTIONS About NATIVE AMERICANS30. Be Thankful for What You Got - William DeVaughn31. I'm Good - The Parkmans32. There Ain't Nothin' Better - Robert Brookins 33. Saturday Night - Special Formula Band feat. Jeff Floyd 34. This Kind of Love - TanQueray Hayward35. Common MISCONCEPTIONS About NATIVE AMERICANS36. I Can't Thank You Enough - Full Force feat. Force MD's 37. I Wanna Thank Ya - Angie Stone 38. Satisfied With My Love - Adesha39. If You Want Me To Stay - Ari Lennox (Feat. Anthony Ramos)40. All My Life - Donovan Blackwood41. WKND - Ledisi 42. Roses - Gregg Jackson, Christopher Williams, Alexander O'neal43. Where Is Our Love Song - Stevie Wonder feat. Gary Clark Jr -44. Nothin - Toni Braxton