Podcasts about high flying birds

From 'Sex Lies and Videotape' to 'Black Bag' (which is now available on VOD), we rank every single Steven Soderbergh movie, plus a few of his miniseries and a short film. Hosted by Brad Garoon & Jake ZieglerCovering, in chronological order:Sex, Lies, and Videotape (1989), Kafka (1991), King of the Hill (1993), The Underneath (1995), Schizopolis (1996), Gray's Anatomy (1996), Out of Sight (1998), The Limey (1999), Erin Brockovich (2000), Traffic (2000), Ocean's Eleven (2001), Full Frontal (2002), Solaris (2002), Ocean's Twelve (2004), Eros/Equilibrium (2024) Bubble (2005), The Good German (2006), Ocean's Thirteen (2007), Che (2008), The Girlfriend Experience (2009), The Informant! (2009), And Everything Is Going Fine (2010), Contagion (2011), Haywire (2011), Magic Mike (2012), Side Effects (2013), Behind the Candelabra (2013), Logan Lucky (2017), Unsane (2018), Mosaic (2018), High Flying Bird (2019), The Laundromat (2019), Let Them All Talk (2020), No Sudden Move (2021), Kimi (2022), Magic Mike's Last Dance (2023), Command Z (2023), Full Circle (2023), Presence (2024), Black Bag (2024)0:00 Introduction2:12 40-3013:08 29-2024:29 19-1036:55 9-1#georgeclooney #merylstreep #michaeldouglas #juliaroberts #bradpitt #catherinezetajones #mattdamon

There's a common assumption that if you breastfeed, you can never be apart from your child, and you have to sacrifice career ambitions if you are going to breastfeed longer term. My guest this week is here to bust that myth, and show how you can both breastfeed and also travel for work.Jessica Greenfield is a singer-songwriter and member of Noel Gallagher's High Flying Birds. She has continued to feed her daughter Ava, while touring with the band and balancing work. We talk about her relationship with Ava, maintaining her breast health on the road, family support, and her plans for the future.Follow Jessica on Instagram at @greenfieldsingsMy latest book, ‘Supporting the Transition from Breastfeeding: a Guide to Weaning for Professionals, Supporters and Parents', is out now.You can get 10% off the book at the Jessica Kingsley press website, that's uk.jkp.com using the code MMPE10 at checkout.Follow me on Twitter @MakesMilk and on Instagram  @emmapickettibclc or find out more on my website www.emmapickettbreastfeedingsupport.comThis podcast is presented by Emma Pickett IBCLC, and produced by Emily Crosby Media.

https://www.virginradio.it/audio/long-playing-stories/1383742/long-playing-stories-noel-gallagher-s-high-flying-birds-back-the-way-we-came-vol-1-20112021.htmlhttps://www.virginradio.it/audio/long-playing-stories/1383742/long-playing-stories-noel-gallagher-s-high-flying-birds-back-the-way-we-came-vol-1-20112021.htmlTue, 18 Mar 2025 10:43:47 +0100Virgin RadioVirgin Radiono0

What's it like fostering in your 40s? Author Beth Moran had three children in her twenties but decided to take up fostering once they flew the nest. Her new novel It Had To Be You is inspired by her experiences of fostering thirteen children in five years.Singer-songwriter Theo Bleak has received huge acclaim recently for her raw lyrics and soaring melodies. As well as supporting Suede, Noel Gallagher's High Flying Birds and Joesef on tour, her debut LP Pain was also nominated for Scottish Album of the Year. Theo performs her latest single You Said You'd Feel It All Again live in the Woman's Hour studio.The director Sam Taylor-Johnson was 42 when she met husband to be Aaron Taylor-Johnson, who was 18 at the time. They recently made a red carpet appearance with her two eldest daughters and the hashtag #SameAgeAsStepDaughter became a TikTok trend. Clare McDonnell is joined by Alexandra who was her husband's third wife and at 30 had stepdaughters of 26 and 20 from his first two marriages. She joins Clare McDonnell, along with parenting expert and family psychologist Anna Mathur.Presenter: Clare McDonnell Producer: Laura Northedge

NBA-tuokion erikoisjaksossa katsotaan Netflixin High Flying Bird -elokuvaa ja kommentoidaan samalla valkokankaan tapahtumia. Suosittelemme kuuntelemaan tätä jaksoa samanaikaisesti elokuvaa katsoessa.

This week, Steve included a short set of "December" songs.  In this show, you will hear the artists Passion Pit, Nothing But Thieves, Paper Route, Wipers, The Stone Roses, Noel Gallagher's High Flying Birds, Ivy, The Blakes, Joe Deninzon & Stratospheerius, Fastball, Art d'Ecco, Deco, Two Door Cinema Club, The Rifles, Cowbell, The Linda Lindas. AI-free since 2016! On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

Steven Soderbergh shot his last movie on an iPhone 7, and he liked the experience so much that he did it again, but with one key difference—he shot “High Flying Bird” (2019) with an iPhone 8. Social media Instagram @thefilmographers Twitter/X @filmographerpod Letterboxd @filmographers YouTube @TheFilmographersPodcast Website https://filmographerspodcast.com/ Credits Keir Graff & Michael Moreci, hosts Kevin Lau, producer Gompson, theme music Cosmo Graff, graphic design

Les classiques du jour : - Blue Öyster Cult "(Don't Fear) The Reaper" - Van Halen "Jump" Les nouveautés du jour : - Rag'n'Bone Man - Pocket - Joe Jonas - What This Could Be - Jake Bugg - Never Said Goodbye Le journal de la musique : - Pour les 30 ans de l'album "Dookie", Green Day fait une surprise originale - Un nouveau titre de The Cure est disponible - Taylor Swift est la chanteuse la plus riche du monde La cover : Noel Gallagher's High Flying Birds reprend "Love Will Tear Us Apart" Le live du jour : The Cardigans "My Favourite Game" (Live in Kiev, Ukraine / 2003)

Noel Gallagher's High Flying Birds reprend "Love Will Tear Us Apart"

What is the most recent job on ex-player's Linkedin profiles? Who do these ex-players now manage? SupersoNick Powell, (What's the Tory) Morning Glory? Kevin Gallacher's High Flying Birds and a plethora of other terrible puns courtesy of Theo. Listen on for all this and more football trivia drivel.Keep your ideas coming to careerwegopod@gmail.com for more dedicated Farfan zone episodes.SUBSCRIBE TO OUR YOUTUBE CHANNEL:https://www.youtube.com/@CareerWeGoPodJOIN OUR DISCORD for more niche quizzing:https://discord.gg/kF7VuQrUh4 Hosted on Acast. See acast.com/privacy for more information.

I denne uge kom der en nyhed som mange musikfans har ventet på i mange år, men som de færreste regnede med nogensinde ville komme. Brødrene er blevet forsonet – The Guns have fallen silent. Sagt på en anden måde, Oasis er tilbage som band efter 15 års fravær. Det skal selvfølgelig fejres, og derfor er denne uges udsendelse en Oasis Reunion Special, hvor vi hylder at en af vores yndlingsbands er blevet gendannet. Vi er begge vokset op med de to Gallagherbrødres fantastiske rocksange, derfor er dette afsnit en slags kærlighedserklæring til bandet fra Manchester, som var med til at ændre musikhistorien i det britiske og nærmest også den engelske folkesjæl. Vi snakker om, hvad der har gjort at de nu er tilbage, og om vores forventninger til næste års koncerter. Derudover kan I selvfølgelig glæde jer til en masse gode Oasisnumre, en helt særlig Oasis hitliste og minsandten også en Oasisquiz. Desuden bliver der udleveret en fødselsgave, Andy imiterer både Liam og Noel, vi overvejer om Gentofte Stadion er det danske svar på Knebworth, og så krydser vi ellers fingre for, at vi ”helt sikkert måske” kan være så heldige at få fat i et par billetter til en af de mest ventede koncerter næste år. Playliste: Oasis - Hello Oasis - Half the World away Oasis - Live forever Oasis - Champagne supernova Oasis - Don't look back in anger Oasis - Wonderwall Oasis - Columbia Oasis - Stand by me Oasis - The Hindu times Oasis - The importance of being idle Noel Gallagher's High Flying Birds - Stop the clocks Oasis - Don't go away

C'était en août 2009, à Paris, avant un concert au Rock en Seine. Une énième dispute entre les frères Gallagher, Liam et Noel, a éclaté en coulisses. Les deux frères, connus pour leur rivalité légendaire, ont eu une dispute si violente que Noel a finalement quitté le groupe. Il a annoncé sa décision dans un communiqué, disant qu'il ne pouvait plus travailler avec son frère. Pour beaucoup, c'était la fin d'une époque. Pendant des années, les fans ont espéré une réconciliation. Chacun des frères a suivi sa propre voie : Noel avec ses High Flying Birds, et Liam avec Beady Eye puis en solo. Le légendaire groupe de rock britannique Oasis, formé par les frères Liam et Noel Gallagher, a officiellement annoncé son retour sur scène après 15 ans de séparation. Cette nouvelle marque la fin... • La suite sur https://www.radiomelodie.com/podcasts/12329-le-groupe-oasis-est-de-retour.html

Welcome to the Stupid Hearts Club Podcast! A place for everyone who believes in love, openness, creativity and giving life a good bloody go.-------------------This weeks chat is very special and is a Music Dad Podcast episode.Last week I took myself to off to a fancy-pants Rock Star hotel in Kensington, London to chew the fat with Scouse bass legend Russ Pritchard of Noel Gallaghers High Flying Birds. Also formerly of the Zutons, and The Big Kids (who you MUST check out).in this brilliant, insightful and beautifully honest chat we hear what it's like and what it takes, alongside luck, to claw your way up in the music scene. We discuss the dedication and guts it takes to hone your craft so hard that you one day may find yourself casually sparking a co-write of a song that will then become a part of popular culture as ubiquitous as salt in the briny sea (none other than 'Valerie'). I think you will love Russ, he is very much a person who clearly doesn't take a single moment of his job for granted, and he made me a proper Brew with not too much milk in it.This FREE version of the chat is dead ace but FYI, there is a different edit with a longer cut of our chat on my patreon at patreon.com/stupidheartsclub in which Russ tells the very amusing story of how he got the job with Noel Gallagher- There are a good few extras sitting waiting for you in the patreon feed going back months, including episodes of 'Tea and Empathy' where I meet strangers in cafes for a brew and find lots of humanity, and several episodes of The Busking Chronicles, which is what I called my music based eps before I realised I was in fact The Music Dad.Wherever or however you enjoy the joy thank you so much for being hereStupid Hearts Club Forever BabyNicoxx-------------------If you like what I do and you want to contribute to my efforts as well as get access to some really cool extras, please take a look at my Patreon! And if you can't, or indeed just don't want to, then I'm still super happy you're here (but I will now ignore you if I see you in the street)And if you want to see how bad my concentration is, then follow me on hings Instagram, where I regularly post whatever nonsense amuses me, come along and say hello-------------------Editing by Nico TatarowiczProduction support from Drew ToynbeeCopyright 2024 Nico Tatarowicz

Steven Soderbergh Film (3 of 7). Henry deals with an NBA lockout in High Flying Bird (Netflix Original).Subscribe / Buy Bonus Shows / Contact

Today, the Spotlight shines On musician, songwriter, journalist, and returning guest, Jeff Slate.Jeff joined us about two years ago and while that discussion was more focused on his work as a writer and cultural observer, this talk focuses on his music career.Based in New York City, Jeff has traveled quite an interesting road from his roots in the mid-80s post-punk world to rubbing shoulders and working with luminaries like Steve Jones of the Sex Pistols, Pete Townshend, Roger McGuinn, Jeff Tweedy, Willie Nile, Margo Price, and Sheryl Crow.Jeff has a new record out, The Last Day of Summer, featuring Dave Stewart, Duff McKagan, Earl Slick, as well as members of Paul Weller's band and Noel Gallagher's High Flying Birds. The album even boasts photos shot by famed rock photographer Bob Gruen.It was a real blast getting to know this side of Jeff's life and work. He's fun to spend time with and is someone who speaks his mind and who clearly cares. Check out Jeff's music (links are in the show notes) and enjoy our talk.(The musical excerpts heard in the interview are from Jeff Slate's album The Last Day of Summer)–Dig DeeperVisit Jeff Slate at jeffslatehq.comPurchase Jeff Slate's album The Last Day of Summer on Qobuz or listen on your streaming platform of choiceFollow Jeff Slate on Instagram, Facebook, Twitter (X), and YouTubeJeff Slate visits Spotlight On in 2022James Honeyman-Scott: The Complete 1981 Pretenders InterviewBe sure to peruse this episode's extensive show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. • Check out Spotlight On's next live event at The Royal Room in Seattle on Saturday, June 22! More info here. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On musician, songwriter, journalist, and returning guest, Jeff Slate.Jeff joined us about two years ago and while that discussion was more focused on his work as a writer and cultural observer, this talk focuses on his music career.Based in New York City, Jeff has traveled quite an interesting road from his roots in the mid-80s post-punk world to rubbing shoulders and working with luminaries like Steve Jones of the Sex Pistols, Pete Townshend, Roger McGuinn, Jeff Tweedy, Willie Nile, Margo Price, and Sheryl Crow.Jeff has a new record out, The Last Day of Summer, featuring Dave Stewart, Duff McKagan, Earl Slick, as well as members of Paul Weller's band and Noel Gallagher's High Flying Birds. The album even boasts photos shot by famed rock photographer Bob Gruen.It was a real blast getting to know this side of Jeff's life and work. He's fun to spend time with and is someone who speaks his mind and who clearly cares. Check out Jeff's music (links are in the show notes) and enjoy our talk.(The musical excerpts heard in the interview are from Jeff Slate's album The Last Day of Summer)–Dig DeeperVisit Jeff Slate at jeffslatehq.comPurchase Jeff Slate's album The Last Day of Summer on Qobuz or listen on your streaming platform of choiceFollow Jeff Slate on Instagram, Facebook, Twitter (X), and YouTubeJeff Slate visits Spotlight On in 2022James Honeyman-Scott: The Complete 1981 Pretenders InterviewBe sure to peruse this episode's extensive show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. • Check out Spotlight On's next live event at The Royal Room in Seattle on Saturday, June 22! More info here. Hosted on Acast. See acast.com/privacy for more information.

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Mikey Rowe is  keyboardist for Noel Gallagher's High Flying Birds. Rowe's musical journey with Noel Gallagher extends beyond the High Flying Birds. He was also  a part of Oasis and has an incredibly extensive session and recording career, which we discuss in some depth. And then there's the train wreck story… A huge thanks to... The post Mikey Rowe, Noel Gallagher's High Flying Birds / Oasis appeared first on The Keyboard Chronicles.

On this episode of the Friends in Beauty podcast I welcome Ngozi Olandu Young to the Friends in Beauty guest chair. Emmy nominated/ award winning makeup artist and entrepreneur, Ngozi, known to most as “Gozi”, radiates the world with her remarkable creativity and positive attitude. Through the influence of her rich Nigerian culture, the American raised artist fell in love with beauty and production at a very young age.  She was deeply inspired by the vibrant details of her family's stories and garments, which led to the variant textures, colors and polished looks seen throughout her beauty application and designs.    Ngozi has been blessed to work on projects like HBO's Watchmen, The Wire, High Flying Bird, House of Cards, Step Up 2, Game Change, Jackie, Bessie & Mare of Easttown , where she earned 2 Emmy nominations, We Own This City, where she won the first ever NAACP Award for best makeup and  has been a part of a plethora of  film and TV productions including the new adaptation of  the musical film The Color Purple, where she was Key Makeup Artist.    She also founded and designed her clothing line, NOY and created an educational program called The Reel Artist Pro for those interested in breaking into film and television. Gifted with an eye for fresh beauty, Ngozi is highly skilled in the art of natural projection.  She is able to balance art with the natural features of her clients, resulting in sophisticated, yet subtle looks of beauty that are purely striking.  Each client is a canvas filled with endless potential and inspiration waiting to be released. Ngozi resides in Baltimore, MD with her husband and 3 children.   Enjoy this episode!!   Leave us a 5 star review and share this episode with a friend or 2 or 3. info@friendsinbeauty.com ENROLLMENT OPEN - TRAILBLAZERS CLUB MEMBERSHIP https://bit.ly/FIBTrailblazersClub   ADVERTISE YOUR BUSINESS OF THE PODCAST https://www.friendsinbeauty.com/advertise   ENROLL IN D.I.Y PODCASTER COURSE TODAY:  bit.ly/DIYPodcasterCourse   JOIN PATREON TO SUPPORT THE FRIENDS IN BEAUTY PODCAST https://www.patreon.com/friendsinbeauty   FRIENDS IN BEAUTY FACEBOOK COMMUNITY www.facebook.com/groups/friendsinbeauty   FOLLOW FRIENDS IN BEAUTY ON IG  www.instagram.com/friendsinbeauty   SUBSCRIBE TO YOUTUBE CHANNEL bit.ly/FIBTube Additional Resources:   -https://www.amazon.com/shop/akuarobinson   -Skillshare - Use this link for 2 months free of the premium plan: https://skl.sh/30t352q   -Shop Mented Cosmetics - https://www.mentedcosmetics.com/?rfsn=1290937.f2481  Use Code “AKUAROBINSON” for 10% of your purchase  Announcements:   We're on Apple Podcasts - www.bit.ly/FIBPodItunes!   Join our Facebook community…   If  you're looking for a community of like minded, ambitious, and supportive #FriendsinBeauty  all working to leave our mark on the beauty industry, join us here: https://www.facebook.com/groups/friendsinbeauty Join the Friends in Beauty Mailing List: www.bit.ly/FIBTribe Social Media Info: Ngozi(Instagram) - @gozibeauty Friends in Beauty (Instagram, Facebook, Twitter) - @friendsinbeauty Friends in Beauty (YouTube) - Friends in Beauty  Akua Robinson (Instagram,Twitter) - @akuarobinson AkuaRobinson (Facebook) - Akua Robinson MUA Akua Robinson (Website) - www.akuarobinson.com

Jess Greenfield of Noel Gallagher's High Flying Birds talks openly about some troubling experiences within the industry that took place over ten years ago, the treatment she received for post-natal depression, how NGHFB bandmates model how to best support parents separated from children when touring, and what needs to change in the music industry. Useful resources for those impacted by the topics include.... Music Minds Matter - 0808 802 8008.  If you work in music and are struggling to cope then call Music Minds Matter, a free, 24/7 charity, which will listen, support and help. It doesn't have to be a crisis, or even about music. MIND - 0300 123 3393 Survivors Trust  - 08088 010 818 Monday- Thursday: 10am-12.30pm, 1.30pm-4pm & 6pm-8pm Friday: 10am-12.30pm & 1.30pm-4pm Saturday: 10am-12.30pm Sunday: 6pm-8pm https://maternalmentalhealthalliance.org/resources/mums-and-families/ Support for new parents juggling work commitments. https://survivorsnetwork.org.uk/resource/helplines-webchat-services/  A comprehensive list of a range of free numbers and web services. You can reach out to us too at  chris@thestageleftpodcast.com  Chris Simpson is one of only two people in the UK qualified to train people fully accessibly in supporting others experiencing a mental health crisis, and is also available as a personal and professional development coach should you need support for yourself or your business. www.thestageleftpodcast.com 

Here's a short teaser of our Patreon-exclusive podcast series where we will be examining the cinema of Steven Soderbergh. On our main show we are going through his more underrated works, while on our Patreon we are talking about Soderbergh's most prominent movies. This month, as we are slowly nearing completion of our year-long journey through Steven Soderbergh's movies, we are talking about his 2019 movie High Flying Bird. Over the course of our chat you will hear us talk about whether Soderbergh was the right man for the job, if it is his Moneyball or Jerry Maguire, how it opens a difficult conversation about racial politics in American sports, and whether it is acceptable to leave boogers in a sauna. Subscribe to our patreon at patreon.com/uncutgemspod (3$/month)⁠ and support us by gaining access to other shows, such as other tie-ins, themed retrospectives and director marathons! Hosts: Jakub Flasz & Randy Burrows ⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠ The Uncut Gems Podcast is a CLAPPER production Follow us on Twitter (⁠@UncutGemsPod⁠) and IG (⁠@UncutGemsPod⁠) ⁠Buy us a coffee over at Ko-Fi.com⁠ (ko-fi.com/uncutgemspod) ⁠Subscribe to our Patreon⁠ (patreon.com/uncutgemspod)

Step into the captivating world of football and music with our special guest, Russ Pritchard - bass player for Noel Gallagher's High Flying Birds. As a true Liverpool local, Russ paints a vivid picture of growing up in a city where football and music are intertwined in the culture. We delve into the exciting realm of band formation and music evolution while Russ shares his unique insights from his musical odyssey. From his early inspirations rooted in his dad's record collection to the inception of the Zutons and his eventual association with Noel Gallagher's High Flying Birds, Russ's tales are as fascinating as they are inspiring. We touch upon the bittersweet journey of Liverpool FC's historic Premier League run that was cut short due to the pandemic. The Liverpool Connection is an LFC podcast that aims to bring the story of our wonderful club to as many fans as possible around the world. The history, the passion, the music, the people, the City – we want to share perspectives on and off the pitch. We're delighted to have you here with us, be sure to Like and Subscribe with Notifications on for our latest podcast.

Topics: Why DND is the best option, Movies are my Sunday School, An inaccurate review?, Self-Centered is Balanced / Musical Credits: "Hey Jealousy" - Gin Blossoms © 1992 A& M Records | "Dead to the World" - Noel Gallagher's High Flying Birds © 2023 Sour Mash Records

This week, Steve picked an hour of songs by artists with an animal in their name.  These are the artists you will hear: The Field Mice, Echo & The Bunnymen, Amy Shark, Eels, Crocodile Tears, Band Of Horses, Noel Gallagher's High Flying Birds, The Blow Monkeys, Cage The Elephant, Pony, Snowdogs, Porcupine Tree, Catfish & The Bottlemen, Wolf Alice, Gorillaz with Stevie Nicks. On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock  

This week's guest is songwriter, producer, (and let's just say it) rockstar, Noel Gallager. Noel was the main songwriter, lead guitarist and co-lead vocalist of the band Oasis (the most popular and successful UK band of the 90's) from 1991 until their split in 2009. He has written nine UK number-one singles and ten UK number-one studio albums. After leaving Oasis, he formed Noel Gallagher's High Flying Birds, who have put out four albums; the most recent 'Council Skies' was released June 2, 2023 (two weeks before this conversation was recorded). He is widely considered to be one of the most influential songwriters in the history of British rock music. Nic caught up with Noel on his US tour backstage at the Greek theater in Los Angeles

This week we do things you will hear at Atwood Fest.... Then things you will hear at the burr oak. THEN shows at the Highnoon... Just check out this list of all types of live loud and local artists! - [ ] VO5 - 7/29 Atwood Fest - East side club 6/22 - [ ] Zeroed Hero - NEW MUSIC - Bloody - 6/30 Memorial Union Terrace - [ ] The Earthlings - Sticky Heart - 6/30 - Croucible July 15th - [ ] The Mascot Theroy - 6/23rd - Harmony Bar - [ ] The Lower 5th - 6/23rd - Harmony Bar - [ ] Igor & The Red Elvies - The Burr Oak - 6/29 - [ ] Buffalo Galaxy - High Noon Salon - 6/29 - [ ] Billy Bronsted & The Loot - Hight Noon Salon 6-29 - [ ] Noel Gallagher's High Flying Birds - 6/28 - Breeze Steven's Field - [ ] Unity the Band - 7/13 - House is on Fire - [ ] Crush Scene - Patient for Death - NEW MUSIC 7/5 Burr Oak - [ ] The Nunnery - New Music Floating Gardens ALBUM - Title Track - Burr Oak - [ ] Big Bad Voodoo Daddy - is you is, or is you ain't my Baby - Barrymore theater - 6/29 - [ ] Air Traffic Controller - The Burr Oak - 7/19 Jimmy's Song - [ ] The Trophy Husbands - All Down the Line - High noon Saloon - 7/7

Noel Gallagher just tried to Dethrone the Foo Fighters using NFT sales, looking to claim Number 1 on the Charts! In this episode, we discuss the groundbreaking move by Noel and his band High Flying Birds. With the release of their recent album they decided to add an NFT release on serenade very last minute. This almost propelled them to the top spot and could have potentially dropped the Foo Fighters to number 2. What kind of implications will this have on the future of big name acts, NFT sales and chart manipulation? Noel Gallagher and the High Flying Birds - Council Skies - https://serenade.co/@noelgallaghershfb/council-skies-deluxe-version Please Like, Share and Subscribe to the Podcast. Help us out by following the podcast Youtube: https://www.youtube.com/@musicnftpod Follow the podcast Twitter: https://twitter.com/musicnftpod

Doug got a little time off, so Bill is giving all of you the old quickie today! This week the boy apologizes for the tardiness of last week's episode, working, algorithms, Eddie Kingston, the upcoming G1 Climax 33, Elon Musk, CM Punk/Elite, awkward heavy breathing, divesting oneself from entertainment, upcoming shows for Devotion Championship Wrestling, Central States Wrestling, and Sanchez and Alacron Promotions, and the “new” state of New Japan Pro Wrestling. Since Doug is not on the episode we are predicting a huge drop in listens, it will be ok. We are diversifying our budgets as we speak. Where To Find Everything Else: Website Page For The Podcast Songs Used In The Podcast: “Here Comes Your Man” by The Pixies on Dolittle “Pretty Boy” by Noel Gallagher's High Flying Birds on Council Skies “Black Sugar Beach” by Janelle Monae on The Age of Pleasure

Sponge's Vinnie Dombroski joins us before he gets roasted, Donald Trump pleads not guilty, WATP Karl takes on the Cavinder Twins, hellacious Death Triangle, Ex-Channel 95.5's Spike's new gig, and a new Director of Merch endorsement. Donald Trump's boring indictment dominated the television today. The polls for all the politicians are all in the dump. Rose Montoya is banned from The White House after popping her top at a Pride Event. The campaign for Merch Director is heating up. *Warning* BranDon "stumbled" upon a very NSFW subreddit involving farts. Vinnie Dombroski of Sponge/The Orbitsuns/Crud/Diamondbuck /The Lucid /etc. joins the show to promote the Vin Roast supporting The Polish Day Parade. The Beatles will drop a new AI-powered song from the past. The Detroit Tigers pulled out a nice comeback and Teebs was front and center reppin' DMP. Javier Baez remains a villain and wants you to "shut the f**k up". The Denver Nuggets are the 2023 NBA Champions. Nikola Jokic is not interested in sticking around for the parade in Denver. Death Square: RIP Silvio Berlusconi. RIP Unabomber again. RIP Treat Williams. RIP Cormac McCarthy. Pat Sajak is finally leaving Wheel of Fortune. Comedians aren't always good on radio. WATP's Karl Hamburger joins the show to complain about the struggles of owning two homes, destroy the overrated Cavinder Twins, promote his upcoming live show at the Magic Bag and more. Spike from Mojo in the Morning has found his calling: Tour Guide. BranDon had a harrowing experience with his first camping adventure. Noel Gallagher's High Flying Birds have a new album out and should be in town soon. Bob Rivers will be interviewing Drew Lane at the end of the week. His music parodies remain legendary. We enjoy more of Kamala Harris' 'Veep Thoughts'. Some idiot dressed in an old school prison uniform and was arrested at Trump's court hearing. We should be able to get hammered in the stadiums at college football games this fall. MSU bought part of the Fisher Building for some reason. Jana Abulaban is not a fan of Israel. Stephen Gabbara of Szott Ford dials into the show to give his Merch Director endorsement. WDRQ has been sold to Family Life Broadcasting. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon). Or don't.

Mum was over the moon this week to be joined by fellow Mancunian and music legend Noel Gallagher for a spot of brunch ahead of the release of his new album 'Council Skies'. Mum and Noel got on like a house on fire sharing all their tales from up north. Noel shared a few vital revelations; that he always drinks tea with goats milk, he's only ever had one driving lesson, he didn't try a boiled egg until he turned 30 (!!), and his favourite weekend of the year is getting pissed and watching the Eurovision Song Contest! Noel's band High Flying Birds are on tour around the UK through July, August, and December. Can't wait to see the show Noel, tickets are available now x Hosted on Acast. See acast.com/privacy for more information.

Actor and writer Gina Moxley on her new show, I Fall Down: a Restoration Comedy, recalling her time as an art student in Cork in the 1970s - Gods of Tennis on BBC2 on how an extraordinary generation of players turned themselves into celebrities - New albums by Foo Fighters, Noel Gallagher's High Flying Birds, Sophie Ellis-Bextor.

High Flying Bird is a fantastically executed IPhone 8 movie by modern master Director Steven Soderbergh. If you love pro Basketball, scripts good enough for the stage, and a straight-up "got'ya" protagonist this is for you.

Ep. 172: Amy Taubin on Dead Ringers, Warhol's Batman Dracula, High Flying Bird, Joie Lee, Elephant Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I'm pleased as punch to speak with the critic Amy Taubin about her ongoing “Carte Blanche” series at the Museum of Modern Art, plus some recent viewing. Titles include: Dead Ringers (TV), Warhol's unfinished Batman Dracula, High Flying Bird (directed by Steven Soderbergh), Fuller's Pickup on South Street, shorts by Joie Lee, and Agnieszka Holland's Washington Square, starring Jennifer Jason Leigh. I also ask Amy about interviewing Barbara Loden for the Soho News, and we chat about my latest pick for New Essentials at the Roxy Cinema in New York: Gus Van Sant's Elephant. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Krista and Jenny share this week's What & Why, High Flying Bird. Curious what else the Queue team is watching? Head over to Netflix and search Queue's Queue for more recommendations!

Rockshow Episode 177 Oasis Oasis was a British rock band formed in Manchester in 1991. Known as one of the most prominent bands of the 1990s, they were part of the Britpop movement alongside other popular acts like Blur, Pulp, and Suede. The band consisted of songwriter and guitarist Noel Gallagher, his brother Liam Gallagher as the lead vocalist, guitarist Paul "Bonehead" Arthurs, bassist Paul "Guigsy" McGuigan, and drummer Tony McCarroll. Later members included Gem Archer, Andy Bell, and Alan White. Oasis released their debut album, "Definitely Maybe," in 1994, which became one of the fastest-selling debut albums in the UK. This album contains popular tracks such as "Supersonic," "Live Forever," and "Cigarettes & Alcohol." Their follow-up album, "(What's the Story) Morning Glory?" (1995), met even greater success with hit singles like "Wonderwall," "Don't Look Back in Anger," and "Champagne Supernova," and is considered one of the best-selling albums in British history. Throughout their career, the band continued to produce successful albums, such as "Be Here Now" (1997), "Standing on the Shoulder of Giants" (2000), "Heathen Chemistry" (2002), "Don't Believe the Truth" (2005), and "Dig Out Your Soul" (2008). However, Oasis was also known for their tumultuous relationships, especially between the Gallagher brothers and several lineup changes, which dominated headlines at times. Finally, in August 2009, Noel Gallagher announced his departure from the band due to ongoing disputes with his brother, effectively leading to the disbandment of Oasis. Post-Oasis, both Gallagher brothers pursued solo careers, with Noel forming the band Noel Gallagher's High Flying Birds, and Liam creating the band Beady Eye, later followed by a solo career. Despite their turbulent history, Oasis is often cited as one of the most influential bands of their generation, with their music regarded as a symbol of the 1990s Britpop era. #OasisBand #NoelGallagher #LiamGallagher #Wonderwall #ChampagneSupernova #DefinitelyMaybe #WhatsTheStoryMorningGlory #LiveForever #DontLookBackInAnger #Supersonic #Britpop #90sMusic #MadFerIt #OasisLive #RocknRollStar #OurKid #OasisReunion #NoelVsLiam #OasisFans #BeHereNow @Oasis https://youtube.com/@oasisinetofficial https://oasisinet.com/ https://open.spotify.com/artist/2DaxqgrOhkeH0fpeiQq2f4?si=8_k-rmzrRfSvx4fIXzrD1Q https://twitter.com/oasis https://www.instagram.com/oasis/ https://m.facebook.com/OasisOfficial/?wtsid=rdr_0Iyp9Lyshyhi9BFI4 Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup

On the 297th episode of Piecing It Together, Josh Bell & Jason Harris join me to talk about Air, the latest movie directed by Ben Affleck. After talking about his Oscar winning Argo on this week's episode of Awesome Movie Year, we thought it would be a perfect opportunity to do a crossover event. Puzzle pieces include High Flying Bird, Moneyball, Hustle and We Bought A Zoo.As always, SPOILER ALERT for Air and the movies we discuss!Written by Alex ConveryDirected by Ben AffleckStarring Matt Damon, Ben Affleck, Chris Tucker, Jason Bateman, Chris Messina, Viola DavisAmazonhttps://press.amazonstudios.com/us/en/original-movies/airJosh Bell is a film critic whose reviews can be read at CBR, Crooked Marquee, The Inlander and elsewhere. With comedian and filmmaker Jason Harris, he co-hosts the podcast Awesome Movie Year, at awesomemovieyear.com or wherever you listen to podcasts.Like Him on Facebook https://www.facebook.com/joshbellhateseverything/And Follow him on Twitter @SignalBleedJason Harris is a writer and stand-up comedian (not just here in Las Vegas).Check out Jason Harris on Facebook at https://www.facebook.com/jasonharriscomedy/And check out his web series Copper Creek at https://www.facebook.com/coppercreekshow/My sixth album, MORE CONTENT is available NOW on iTunes, Bandcamp and all other digital music stores! Make sure to check it out!My latest music video “Blacklight" which you can watch at https://www.youtube.com/watch?v=wqScAn_HaqMThe song at the end of the episode is "Ascend" from the album A Different Kind Of Dream.Make sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check out https://www.piecingpod.com for more about our show!And if you want to SUPPORT THE SHOW, you can now sign up for our Patreon at https://www.patreon.com/bydavidrosenShare the episode, comment and give us feedback! And of course, SUBSCRIBE!And of course, don't forget to leave us a 5 star review on Goodpods, Apple Podcasts, Spotify, or Podchaser!Check out Awesome Movie Year at https://www.awesomemovieyear.comAnd most...

The docs are back this week talking about the films High Flying Bird (Soderbergh, 2019) and Bone Tomahawk (Zahler, 2015). There is geeking out on cinematography, showing love for sports, wondering about the western horror genre and much more!  You can subscribe, rate, and leave feedback on the show through Apple, Google, Podbean, or wherever you get your podcasts.  Check out our discord and get in on the chat: //discord.gg/QdAhVhDPVN Questions for us, or about the show? E-mail us lonelyphds@gmail.com

This week on the SOSS, the ladies discuss Amy quitting her job and how they might erect a memorial in her honor involving a candle and a parking space plaque. Maya and Amy discuss how “spring forward” daylight saving time is trash. Amy points out that the night shifters are loving life right now. Racquet Report: Melissa's drama-filled solo trip to drills, and Maya and Melissa go to tennis drills after Maya's 5-month back rehab hiatus. Also, hot tip, tennis websites are a nightmare user experience. Maya and Amy realize they love tough love tennis coaching because they both had mad 80s dads and decide coaches should be assigned based on what kind of dad you had. Amy praises the 1916 project doc on Hulu. Spoiler alert: We never learned any of this because school is racist as hell. Maya loves Mel Brookes and is jazzed for The History of the World Part II. Amy brings up the Vanderpump Rules “Scandoval”. Maya dips into Daisy Jones and the 6. Music Report: New single from Noel Gallagher's High Flying Birds. Approved/Denied: The Swedish Death Clean. --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-spirit-of-77/message

Hello and welcome to How Did I Get Here? From The Vault! In celebration of 30 years of Jellyfish's classic album, Spilt Milk, today we go back to episode 1001 with Roger Joseph Manning Jr. and Tim Smith from Jellyfish! They were on the show promoting their now definct band, The Lickerish Quartet featuring Eric Dover from Jellyfish as well. This show was originally released on 12/18/2020. Below are my original notes form the show.  Hello friends! Roger Joseph Manning Jr. (Jellyfish, Beck) and Tim Smith (Jellyfish, Noel Gallagher's High Flying Birds) from The Lickerish Quartet return to the show for episode 1001! Their second EP, "Threesome Vol. 2" comes out on January 8th, but you can check out the first single, the brilliant, "Snollygoster Goon" wherever you stream or download your jams. Go to thelickerishquartet.com for music, merch, fan experiences and more. We have a fantastic conversation about their writing and recording collective, life under quarantine, touring, fan experiences, why Hispanic people love Morrissey, Clint Eastwood and doo-wop, woking with Jellyfish, Beck, Noel Gallagher and much more! I had a great time catching up with Roger and Tim. I'm sure you will too. Let's get down! If you feel so inclined. Venmo: venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

As we are now in the midst of March Madness, let's revisit one of the more unsung basketball dramas of recent years which happens to feature VERY little actual basketball.  Andre Holland stars as Ray Burke, a hot-shot NBA agent representing an aspiring rookie (Melvin Gregg) who is struggling to figure out what to do with himself as the beginning of his first season is delayed as as a result of a protracted lockout forced by the league's owners.  Ray plots to figure out ways to both end the lockout AND a possible new way for the players to compete on the court SEPARATE from the League....and that's where the plot starts to thicken resulting in a sports drama which ends up focusing more on what happens OFF the court.  "LFTC" stalwart Steven Soderbergh helmed, edited, and shot this entire film on his IPhone - this is now our FIFTH episode featuring one of his movies, a podcast record! :) Also co-starring are Zazie Beetz, Sonja Sohn, Kyle MacLachlan, and the irreplaceable Bill Duke. Host: Geoff Gershon  Editors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Garbage and Noel Gallagher's High Flying Birds are preparing to tour! They called in and chaos ensued...

Artist / Song Soul Coughing / Super Bon Bon Roxy Music / Out Of The Blue Snakes Don't Belong in Alaska / Elektrische Zeitreise Beck / Deadweight Noel Gallagher's High Flying Birds & Robert Smith / Pretty Boy (Robert Smith Remix) Barbara Lynn / You'll Lose A Good Thing Robin Trower / Daydream Placebo / Pure Morning (Radio Edit) Pretty Lightning / Hum Everything But The Girl / Caution To The Wind Lou Donaldson / Blues Walk DakhaBrakha / Sonnet RVG / Nothing Really Changes Nick Drake / 'Cello Song FONTAINES D.C. / 'Cello Song Steely Dan / Aja Dazy / Pressure Cooker (feat Militarie Gun) The Rolling Stones / Empty Heart Marianne Faithfull / Broken English Susanna Hoffs / Under My Thumb (Remix) Ronnie Hawkins & The Hawks / Mary Lou Jesse Cook / HEY! (feat. Fethi Nadjem) Jimmy Reed / Hush Hush Radiohead / The Numbers email: theeverythingshow@aol.comFacebook: www.facebook.com/groups/everythingshow/

Shirley Manson and Noel Gallagher joined me to talk about the joint summer tour with Garbage and Noel Gallagher's High Flying Birds! We talked about Shirley's recent surgery, how you know when a song or an album is finished, Noel's new 'Council Skies' album, Garbage playing the 007 Tribute Concert and someone wants to be a Bond villain or Bond girl!

Remember The Rakes? You should. They were my fave of the post-Strokes/Libertines mid 2000s! Discover or re-visit a track from them plus new music from Noel Gallagher's High Flying Birds and more! --- Support this podcast: https://anchor.fm/thebottomforty/support

Media Monarchy plays Taylor Swift x Lana Del Rey, Busta Rhymes x Big Daddy Kane, Noel Gallagher's High Flying Birds x Johnny Marr and more on #PumpUpThaVolume for November 4, 2022. ♬

Alex Bazeley and Bobby Wagner of "Tipping Pitches" return to Big Screen Sports to join Kyle Bandujo in breaking down a different kind of sports movie in "High Flying Bird." The trio talks Soderbergh's take on player empowerment, a run time that might've actually been too short, and why Erick Scott is the weirdest #1 pick ever.  Follow Bobby & Alex @tippingpitches and Kyle @kylebandujo You can support Big Screen Sports, get schedule updates, and pick movies to be covered in upcoming episodes by joining our Patreon at https://www.patreon.com/bigscreensports. Big Screen Sports is hosted/edited by Kyle Bandujo, and produced by Aaron Figueroa, Mike Schubert, Steve Rogers, Kevin Frost, Mike Dries, Ryan "Nigel" Yager, Mike D, James Kowalewski, Chris Mycoskie, Andrew Tuegel, John Craig, Sam Smith, Zach Rich, Jason Alba and Classic Stadium Fire. Art for Big Screen Sports was created by Riki Prosper. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

James and Jerah review Netflix's basketball drama “High Flying Bird'' released in 2019. All filmed on an iPhone, the movie follows a sports agent who has just 72 hours to convince his rookie client on a risky opportunity during a NBA lockout. This film is written by Tarell Alvin McCraney and stars André Holland, Melvin Gregg, Zazie Beetz, Bill Duke, Sonja Sohn, and Caleb McLaughlin. Produced by Melisa D. Monts Edited by Diane Kang Executive produced by Brett Boham, Joe Cilio, Alex Ramsey, and Tracy Soren Listen to Black Men Can't Jump [In Hollywood] Ad-Free on Forever Dog Plus: https://foreverdogpodcasts.com/plus FOLLOW BLACK MEN CAN'T JUMP [IN HOLLYWOOD]: https://twitter.com/blackmenpodcast https://www.instagram.com/blackmenpodcast BUY BLACK MEN CAN'T JUMP [IN HOLLYWOOD] MERCH: https://www.teepublic.com/stores/black-men-can-t-jump-in-hollywood SUPPORT BLACK MEN CAN'T JUMP [IN HOLLYWOOD] ON PATREON: https://www.patreon.com/BMCJ BLACK MEN CAN'T JUMP [IN HOLLYWOOD] IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/black-men-cant-jump-in-hollywood Learn more about your ad choices. Visit megaphone.fm/adchoices