Podcasts about The Hollywood Vampires

Buck Johnson  is a seasoned singer-songwriter, multi-instrumentalist, and producer whose soulful ‘Cala-Bama' sound fuses his Alabama gospel roots with a West Coast rock edge. Best known as the keyboardist and backing vocalist for Aerosmith, Ringo Starr & His All Starr Band, The Hollywood Vampires, and The Joe Perry Project, which recently revamped and has an incredible lineup featuring Chris Robinson of The Black Crows, Robert DeLeo and Eric Kretz of Stone Temple Pilots, Brad Whitford, and Buck. “Aerosmith was already a fine tuned machine when Buck came into the fold but he made them better if that was possible. His vocals complements Steven's perfectly and Buck still being there is a true testament of what he brings to Aerosmith. I call him the “Swiss Army knife”! He plays keyboards and also guitar on some songs but his singing is his gift and it really shows on the Aerosmith, Vampires and Joe Perry live gigs. I think what puts him high above the rest as a well sought after musician is he is one of the finest humans you are going to meet”. -John Bionelli, AerosmithMusicThe Charms "So Pretty"The Dogmatics "I Love Rock N Roll"Produced and Hosted by Steev Riccardo

Dennis Dunaway was inducted into the Rock and Roll Hall of Fame in 2011 as a founding member of the band named Alice Cooper. Dennis and the group are in the Grammy Hall of Fame for co-writing “School's Out.” The original Alice Cooper group have sold millions of singles and albums and were on the cover of Forbes for having the largest grossing tour in 1973 over Led Zeppelin and the Rolling Stones. The original Alice Cooper group is in the Guinness Book of World Records for largest indoor audience of an estimated 120,000 to 148,000 in Sao Paulo, Brazil in 1974. The Billion Dollar Babies album reached number 1 in America and Britain, and the group are recognized as the innovators of theatrical rock shows, which included giant balloons, hangings, snakes and spidery eye makeup.Dennis currently records and tours with Blue Coupe featuring Joe and Albert Bouchard of Blue Öyster Cult fame and singers Tish and Snooky of Manic Panic.The original Alice Cooper group recorded 3 songs on Alice's Welcome 2 My Nightmare album, and re-recorded “School's Out” with Brian Johnson, Joe Perry and Johnny Depp for the Hollywood Vampires album. The Alice Cooper group reunited to record several songs on Alice's Paranormal album produced by Bob Ezrin, and the group did a five-city tour in the United Kingdom in November 2017, which included 14,000 people at Wembley. Dennis is constantly recording and playing shows with bands involving his musical friends. His fans inspire him to take new risks while remaining true to legendary roots.For more on Dennis....https://www.dennisdunaway.com

COFFEE MOANING the PODCAST ON APPLE PODCASTS: https://podcasts.apple.com/gb/podcast/coffee-moaning/id1689250679ON SPOTIFY: https://open.spotify.com/show/3p6z4A1RbhidO0pnOGGZl2?si=IqwD7REzTwWdwsbn2gzWCg&nd=1HOW TO STAY MARRIED (SO FAR) the PODCASTON SPOTIFY: https://open.spotify.com/show/57MT4cv2c3i06ryQlIpUXc?si=1b5ed24f40c54ebaON APPLE PODCASTS: https://podcasts.apple.com/gb/podcast/how-to-stay-married-so-far/id1294257563 Hosted on Acast. See acast.com/privacy for more information.

With a career spanning nearly five decades, David has been a key figure in live entertainment, working with iconic artists such as The Rolling Stones, Van Halen, Night Ranger, Alice Cooper, and many more. His multifaceted expertise includes roles as a Lighting Designer, Production Manager, Tour Manager, and Video Director, showcasing his versatility and dedication to excellence.Currently serving as Tour Manager for Alice Cooper and the Hollywood Vampires, David oversees everything from travel logistics to show settlements and production design. His recent contributions include designing the lighting, video, and stage effects for the Hollywood Vampires' 2023 tour and creating the visual elements for Jackson Browne's global tours in 2021 and 2022.David's ethos is simple: "Behave like you'd want someone to behave." This philosophy, combined with his professionalism and creative talent, has made him an invaluable asset to the entertainment industry. As he awaits the next chapter with Alice Cooper and the Hollywood Vampires, David continues to push boundaries and deliver unforgettable live experiences. He was on the podcast in 2020 - you can go back and check that, it's episode 104. I saw him most recently - in palm beach, with Alice - a great show! This Episode is brought to you by Main Light and Elation

On this episode of The Eddie Trunk Podcast - Eddie brings you THREE of his recent interviews from his daily talk show. First up, it's Lita Ford who joined Eddie at The Sands in Cancún and talked about getting that gig last minute, The Runaways and her relationship with Cherie Currie, her upcoming projects and more. Then it's over to Eddie's conversation with Tommy Henriksen who joined the daily show to talk about the new Crossbone Skully record, Evil World Machine, getting Mutt Lange to work with him, and  the latest with Alice Cooper and The Hollywood Vampires. Finally, it's Eddie talking to Tuk Smith about the latest record from Tuk Smith and the Restless Hearts, Rogue to Redemption, his following in Japan, if there's any movement on getting his shelved record released and more! Catch Eddie Trunk every M-F from 3:00-5:00pm ET on Trunk Nation on SiriusXM Faction Talk Channel 103.And don't forget to follow Eddie on Twitter and Instagram!Follow the link to get your free 3-month trial of SiriusXM: http://siriusxm.com/eddietrunk Find all episodes of Trunk Nation: https://siriusxm.com/trunknation

SUBSCRIBE TO IMPOSSIBLE WAY OF LIFE ON PATREON TO ACCESS FULL EPISODEhttps://www.patreon.com/animpossiblewayoflifeJohnny is down in Los Angeles, chasing the spirit of The Hollywood Vampires. Whether it's at The Rainbow, the Whisky a Go Go, or Zebulon for the Sam Blasucci show, he's not trying to "capture the zeitgeist" — he's there to crack it open and watch it spill out like egg yolk on a diner counter.Meanwhile, I'm up in Vancouver, carving out my own little rock and roll fantasy — finishing tracking on my album of post-Beatles power pop.We caught up to talk all about it. Listen by following the link in the bio, and subscribe to our Patreon for less than the cost of half a pack of Ernie Ball Super Slinkys.

Celebrating the holiday with a truly enjoyable musical romp. Diverse and full of information and opinions, with Austin City Limits, Shaboozey, Dwight Yoakum, Elton John, Beyonce, Yacht Rock, Hollywood Vampires, and many more. Come along for the ride!

While Crossbone Skully may be a new band to some, they are definitely not a fresh band when it comes to pedigree. Frontman Tommy Henriksen is an integral part of both Alice Cooper's band and the Hollywood Vampires, earning his stripes multiple times over through countless tours and live performances.But with Crossbone Skully the landscape has shifted considerably. This is Henriksen's own band. His creation. His baby.And today the world gets to share in his vision when Crossbone Skully unleash their debut album Evil World Machine on the world.A vicious, snarling slab of rock music brilliance, Evil World Machine is an emphatic statement of intent, executive produced by the legendary Mutt Lange with just enough finesse to draw comparisons with some of the bigger artists in his resume.HEAVY had the pleasure of catching up with Tommy and guitarist Anna Cara to talk more about the album and the rise and rise of Crossbone Skully."It's been a long time coming," Tommy smiled when asked about the album. "It's been quite a while since it's been finished, and to me, it feels like a bunch of excitement and relief. Finally, people can hear this."In the full interview, Tommy and Anna expressed excitement and relief at finally releasing their album, which they had been working on for a long time. They acknowledged the frustration of waiting for the right moment to release it, but believed it was the universe's timing. The group discussed the diverse musical influences in their album, including AC/DC, the Sex Pistols, and The Who. They also mentioned the various singles released from the album, and hinted at some powerful tracks that hadn't been released as singles yet.Both discussed their desire to create music that transcends genres, rather than being pigeonholed into a specific sound. They mentioned their inspiration from various artists such as The Who, Queen, David Bowie, and Motley Crue and also talked about their approach to featuring guest artists on their songs, with Nikki Sixx from Motley Crue and Phil Collen from Def Leppard being mentioned as examples.Tommy spoke about the thought process behind the album's opening track, which was inspired by David Bowie and Motley Crue plus the involvement of legendary producer Mutt Lange, who was executive producer on the album. He expressed gratitude for the opportunity to work with Alice Cooper's band and emphasized the importance of conveying a message of survival and doing the right thing in their music. The band also discussed their upcoming live shows, with a tour kicking off in Hollywood, and expressed interest in touring in Australia plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Gäster: Carin Sollenberg, Felicia Tomala, Sebastian Järpehag, Isidor Olsbjörk För 90SEK/mån får du 5 avsnitt i veckan: 4 Vanliga AMK MORGON + AMK FREDAG med Isak Wahlberg Se till att bli Patron via webben och inte direkt i iPhones Patreon-app för att undvika Apples extraavgifter: Öppna istället din browser och gå till www.patreon.com/amkmorgon Önska Karakou till Gröna Lund 2025: https://faq.gronalund.com/support/tickets/new Relevanta länkar: …Treo comp https://www.kronansapotek.se/Treo-comp/p/159431/ …slaktmask https://ems.dimu.org/image/022s8YCgDXxR?dimension=1200x1200 https://www.svt.se/nyheter/lokalt/norrbotten/atalade-mannens-tidigare-mord-det-har-har-hant …Larson-strippen https://www.cardcow.com/images/set856/card00955_fr.jpg …Vipeholmsexperimentet https://sv.wikipedia.org/wiki/Vipeholmsexperimenten https://www.sockerexperimentet.se/ https://saltkaramell.se/varldens-farligaste-kola/ …Billy Bob Thornton https://www.instagram.com/reel/DCND4oJoAE6/?igsh=MWlneGVuaWszYnd2Nw%3D%3D https://en.wikipedia.org/wiki/The_Boxmasters …Thirty Seconds To Mars https://www.youtube.com/watch?v=hTMrlHHVx8A …Me Want The Punani https://www.youtube.com/watch?v=vLe_BZ1mo3I …Rissell Crowe's Indoor Party https://www.indoorgardenparty.com/ …Kiefer https://kiefersutherland.com/discography/?v=7885444af42e …Hollywood Vampires https://en.wikipedia.org/wiki/Hollywood_Vampires_(band) …Depps nya look https://www.hollywoodreporter.com/wp-content/uploads/2024/10/Johnny-Depp-Getty-H-2024.jpg?w=1296 https://i.ytimg.com/vi/vZP7WDYwMDk/maxresdefault.jpg …Leo, Pitt och Thapper https://instagram.farn1-2.fna.fbcdn.net/v/t51.29350-15/458432000_1934210393694765_6803737654635120516_n.webp?stp=dst-jpg_e35&efg=eyJ2ZW5jb2RlX3RhZyI6ImltYWdlX3VybGdlbi42MTJ4ODE1LnNkci5mMjkzNTAuZGVmYXVsdF9pbWFnZSJ9&_nc_ht=instagram.farn1-2.fna.fbcdn.net&_nc_cat=109&_nc_ohc=RyxX6CnRkQMQ7kNvgH8Hic4&_nc_gid=06cda925ee3d43b0aaaae0b1f2205534&edm=APs17CUBAAAA&ccb=7-5&ig_cache_key=MzQ1MTI2MDk0OTA5ODY4MTU4Ng%3D%3D.3-ccb7-5&oh=00_AYDv2C0IS4_mu-1NvXKPW0AKdpE-LFqMDtuumDD_aFEAYg&oe=673A207F&_nc_sid=10d13b https://cdn.ntm.se/api/v1/images/r2wyzwxr/smart/width/980/height/551/as/jpeg/redirect …Shutter Island https://www.imdb.com/title/tt1130884/?ref_=tt_mv_close …Stefan Holm https://www.expressen.se/sport/friidrott/tuffa-ekonomin-har-salt-av-lego-det-ar-pengar-in/ https://imengine.public.nwt.infomaker.io/image.php?type=preview&uuid=b0a4ed93-db4c-56c1-a7af-42756426d43b&function=cropresize&crop_w=0.999999&crop_h=0.999999&x=0.000001&y=0.000001&width=1920&height=1080 https://midgardsormen.nu/2023/02/17/jessica_eriksson_och_stefan_holm_forfattarportratt/ …Kepler https://images.ctfassets.net/8btjtmbbyps0/2QkltEKfDpmzyTmpR5U00C/cb8b7b45089e26139e14b2c9ae4da7e1/Lars_Kepler.jpg?w=2048&fm=webp&q=75 Låtarna som spelades var: BAYRAKTAR is Life - Taras Borovko Hollywood Hills - Markus Krunegård People Who Died - Hollywood Vampires Alla låtar finns i AMK Morgons spellista här: https://open.spotify.com/user/amk.morgon/playlist/6V9bgWnHJMh9c4iVHncF9j?si=so0WKn7sSpyufjg3olHYmg Stötta oss gärna på Swish, varje litet bidrag uppskattas enormt! 123 646 2006

Tommy Henriksen is a busy rocker. Besides touring with Alice Cooper and the Hollywood Vampires, he has recently launched his new project "Crossbone Skully." In an exclusive interview with ROCK ANTENNE, he shares insights into touring with all three projects, his favorite TV shows that he enjoys, and why he sometimes stays in 5-star hotels and other times in youth hostels. Enjoy the listen!

Singer-songwriter, multi-instrumentalist, and music producer Buck Johnson. He is the keyboardist and backing vocalist for the legendary rock band Aerosmith, The Hollywood Vampires and The Joe Perry Project. He currently on tour with Ringo Starr. As a versatile entertainer, Buck's artistry encompasses American rock and roll with a unique soulful flare that comes from his gospel roots creating a sound and style of his own. Buck releases his highly anticipated album Tongue and Groove. The album is a rock and roll experience with the soulful depth of a seasoned storyteller. Packed with blistering guitar riffs, haunting melodies, and lyrics that cut to the bone, Tongue and Groove is a fearless tribute to resilience, drawing its strength from the timeless concept of the “tongue and groove” woodworking joint—a symbol of enduring connection and strength against life's fiercest storms. Ladies and gentlemen, Tongue and Groove is a collection of songs Buck had co-written with lifelong collaborators such as Charlie Midnight (James Brown, Joe Cocker, Joni Mitchell), and was self-produced by Buck. The album showcases the roots-rock voice of Buck (“the tongue”) with his classic rock production (“the groove”). Buck enlisted talented musicians and friends on the album, including guitarists Damon Johnson (Lynyrd Skynyrd, Alice Cooper, Brother Cane), Peter Stroud (Sheryl Crow), Rob McNelley (Bob Seger), drummer Nick Buda (Taylor Swift, Kenny Chesney), and bassist Ted Pecchio (Susan Tedeschi). His new album, Tongue and Groove drops September 20th so be sure to get a copy. Head over to BuckJohnson.com for the new album and all his tour dates. #buckjohnson #aerosmith #soloalbum #tongueandgroove #newmusic #ringostarr #rockmusic #popmusic #powerballad #toto #thebeatles #beatles #steventyler #joeperry #hollywoodvampires

Singer-songwriter, multi-instrumentalist, and music producer Buck Johnson. He is the keyboardist and backing vocalist for the legendary rock band Aerosmith, The Hollywood Vampires and The Joe Perry Project. He currently on tour with Ringo Starr. As a versatile entertainer, Buck's artistry encompasses American rock and roll with a unique soulful flare that comes from his gospel roots creating a sound and style of his own. Buck releases his highly anticipated album Tongue and Groove. The album is a rock and roll experience with the soulful depth of a seasoned storyteller. Packed with blistering guitar riffs, haunting melodies, and lyrics that cut to the bone, Tongue and Groove is a fearless tribute to resilience, drawing its strength from the timeless concept of the “tongue and groove” woodworking joint—a symbol of enduring connection and strength against life's fiercest storms. Ladies and gentlemen, Tongue and Groove is a collection of songs Buck had co-written with lifelong collaborators such as Charlie Midnight (James Brown, Joe Cocker, Joni Mitchell), and was self-produced by Buck. The album showcases the roots-rock voice of Buck (“the tongue”) with his classic rock production (“the groove”). Buck enlisted talented musicians and friends on the album, including guitarists Damon Johnson (Lynyrd Skynyrd, Alice Cooper, Brother Cane), Peter Stroud (Sheryl Crow), Rob McNelley (Bob Seger), drummer Nick Buda (Taylor Swift, Kenny Chesney), and bassist Ted Pecchio (Susan Tedeschi). His new album, Tongue and Groove drops September 20th so be sure to get a copy. Head over to BuckJohnson.com for the new album and all his tour dates. #buckjohnson #aerosmith #soloalbum #tongueandgroove #newmusic #ringostarr #rockmusic #popmusic #powerballad #toto #thebeatles #beatles #steventyler #joeperry #hollywoodvampires

Episode 223 comes to (ostensibly) live from the 2024 Venice Film Festival and you're probably wondering what sort of person travels 5600 miles in order to record an internet radio program.  Well, the joke is on you because I traveled 5600 miles to be here for the world premiere of “Sucking Is Our Business (And Business Is Kind Of Slow) : The Hollywood Vampires Story”. But as it turns out, the joke is on me, because the Hollywood Vampires movie did not in fact make it into the festival and this kind of bad intel has left me holding the bag.  And not the good kind of bag, i mean the sort of leaky bag that needs to be disposed of.  What sort of unscrupulous persons would knowing deceive a Hollywood Vampires superfan and how do they live with themselves?

Discover the heart and soul of Script Haven Ltd. as the remarkable Leena Batchelor, former Worcestershire Poet Laureate, takes us on a journey through the evolution of her dream. From her early days seeking solace in poetry to nurturing a community bookshop that blooms as a sanctuary for self-published, indie authors, and main stream publishers, Leena's story is one of unwavering resilience and dedication. She opens up about the challenges faced by creative communities, the critical role of the arts in emotional well-being, and how she turned adversity into the thriving pulse of literary and artistic expression that Script Haven Ltd. represents in Worcester, England.Leena recites her poignant poem Shades of Existence, which speaks to the universal struggle against emotional harm. She highlights her commitment to mental health awareness and the far-reaching impact of her voice, touching lives during the solitude of the UK's COVID-19 lockdowns. From leaving poems in public spaces to rallying the support of the Hollywood Vampires for her empowering youth play, Out of the Darkness, Leena Batchelor embodies the very essence of poetry's ability to foster connection, inspire change, and leave an indelible mark on society. Script Haven Ltd.Black Pear PressSpace and Shadows, Leena Batchelor Pearl Blades and Painted Silks: The Language of Fans, Leena Batchelor The Tumbling Girl, Bridget WalshThe Innocents, Bridget Walsh Support the Show.The Bookshop PodcastMandy Jackson-BeverlySocial Media Links

106 - “Hellings” Brett Hellings and Richard Fortus (Guns and Roses) In episode 106 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with Brett Hellings and Richard Fortus (Guns and Roses, he spoke in depth with Richard on episode 45) and they're speaking about their new super-group project Hellings, with lead singer Brett Hellings on vocals and an all-star band including Richard Fortus (Guns N' Roses),Tommy Henriksen (Alice Cooper, Hollywood Vampires, Warlock, Lady Gaga, Meat Loaf), Buck Johnson (Aerosmith, Hollywood Vampires), Billy Sheehan (David Lee Roth, Mr. Big, Steve Vai), and Kenny Aronoff (John Mellencamp, John Fogerty, Smashing Pumpkins) In their conversation you meet Brett and talk about his song writing process and recording the album in El Paso, TX. They talk about how the band was brought together by David Davidian and the recording process with everyone in the room. They go through everyone's gear and we talk about Richard's Gretsch signature model guitars. Richard discusses selling of a bunch of instruments in order to buy a burst. Brett tells us about how he got his start and his influences. You can find out more about Brett Hellings and his band at: https://www.hellingsmusic.com And you can find out more about Richard Fortus at his website: https://www.4tus.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarmagazine #4tus #RichardFortus #Hellings #BrettHellings #DavidDavidian #VintageGuitar #guitar #Guitar #GretschGuitars #Gretsch #acousticguitar #theDeadlies #guitarfinds #haveguitarwilltravelpodcast #guitarcollector #Travelwithguitars #haveguitarwilltravel #hgwt #HGWT Please like, comment, and share this podcast! Download Link

Taylor Swaid sits down with Buck Johnson. Buck is a singer-songwriter and music producer. As a songwriter, Buck's credits include Carlos Santana's #1 international hit “Just Feel Better” featuring Steven Tyler. As a keyboardist/backing vocalist, Buck tours with iconic bands like Aerosmith and Hollywood Vampires. Check out Buck's new music at:https://www.buckjohnson.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In Episode #202 of the IN A CROWDED ROOM PODCAST, Chad Calek discusses the recent allegations made by Katt Williams involving the Hollywood Illuminati, in which Williams makes stunning claims against Sean "Puffy" Combs, Kevin Hart, Will Smith and countless others! Calek also dissects portions of Williams claims that have been oddly echoed by several other well-known celebs who have recently confirmed the existence of a "Hollywood Illuminati". Calek also shares never before discussed details about a night in which he believes he witnessed the "machinery" of the Hollywood Vampires in action, and much more! Calek discusses it all in this episode, including his own unique perspective as a filmmaker who's spent the last 20 years of his life in Hollywood. You do not want to miss this episode!   TO SUPPORT THE IN A CROWDED ROOM PODCAST ON PATREON, CLICK THIS LINK: https://www.patreon.com/inacrowdedroom 

This week on Sippin' On Country, we're thrilled to welcome the incredibly talented Buck Johnson to the show. As a singer, songwriter, and producer, Buck's journey has taken him on tour with icons like Aerosmith, The Hollywood Vampires, and The Joe Perry Project, showcasing his boundless energy and musical prowess. Fresh off the release of his rendition of Santana's "Just Feel Better," featuring Steven Tyler, a track he co-wrote with Jamie Houston and Damon Johnson, Buck joins us for a captivating conversation. From sharing stories about Johnny Depp to his studio experiences in Hollywood and unexpected connections to High School Musical, Buck takes us on a whirlwind journey from his roots outside Birmingham, AL, to the vibrant music scene of LA, and now to the heart of Nashville. Tune in for an engaging discussion filled with insights, anecdotes, and plenty of country charm.Check out the brand new single 'Just Feel Better': https://www.youtube.com/watch?v=do56Yq32vVIhttps://www.buckjohnson.com/https://www.instagram.com/buckjohnson_officialhttps://www.facebook.com/buckjohnsonofficial/https://open.spotify.com/artist/0Wj5XD3AesB8FXsf6tUnBh?si=22gRxv5iQLqz7-HdNLw4kQ Hosted on Acast. See acast.com/privacy for more information.

Singer-songwriter, multi-instrumentalist, and music producer Buck Johnson is the keyboardist and backing vocalist for the legendary rock band Aerosmith, the Hollywood Vampires (Johnny Depp, Alice Cooper, and Joe Perry), and The Joe Perry Project. Buck hails from the backroads of Shady Grove, Alabama, just outside Birmingham, where he grew up singing gospel throughout the South with his musical family. Since beginning his career, the soulful rock artist has amplified his musical talent by performing in churches, bars, festivals, and concert halls globally alongside icons Steven Tyler, Joe Perry, Johnny Depp, and Alice Cooper. As a songwriter, Buck co-wrote the international hit single for Carlos Santana, “Just Feel Better,” for his 2005 album All That I Am, featuring Steven Tyler. After moving to Nashville in 2006, Buck joined the country rock band Whiskey Falls, releasing their self-titled album in 2007 and earning two Country Top 40 hit singles, “Last Train Running” and “Falling Into You.” Buck credits his Alabama roots and his many years of living in California for his soulful rock Cala-Bama sound. Buck has also had numerous songs featured on television and in films as a composer, producer, and performer, including the song “You Came Along” featuring Billy Ray Cyrus on vocals for the Lifetime movie Flying By, “Working Man” by Whiskey Falls for the ABC TV show Extreme Makeover-Home Edition, and “Fast Talking Lover” by Whiskey Falls for the ABC TV show Nashville. Continuing to expand his songwriting and musicianship, Buck produced and co-wrote Kaitlyn Kohler's single “I'm Not Crying,” which recently went No. 1 at Texas Country radio. Buck has also recorded and/or toured with such notable acts as The Doobie Brothers (“Rockin' Down The Highway” live album), Tal Bachman (hit single “She's So High”), Jon McLaughlan (hit single “Beautiful Disaster”), John Waite, Chris Stills, Timothy B. Schmit (The Eagles), and more. He has also worked as a songwriting collaborator, session vocalist, and musician with songwriters and producers Jamie Houston (High School Musical, Carlos Santana), Charlie Midnight (The Doobie Brothers), and Bob Rock (Tal Bachman). Buck's latest works feature various iconic artists, including his self-produced rock ‘n' roll album, mixed by Chad Carlson (Taylor Swift, Blues Traveler, Chris Isaak, Trisha Yearwood); Trina Shoemaker (Queens Of The Stone Age, Sheryl Crow, Brandi Carlile); and Chris Brush. The album features notable lead guitarists Brad Whitford (Aerosmith), Damon Johnson (Lynyrd Skynyrd), Peter Stroud (Sheryl Crow), and the songwriting team of Buck and Charlie Midnight (James Brown, Joe Cocker, and Joni Mitchell). As a versatile entertainer, Buck's artistry encompasses American rock ‘n' roll with a unique soulful flare that comes from his gospel roots, creating a sound and style of his own. Buck is also on the 40-stop Peace Out North American tour with Aerosmith to mark 50 years of performing together and on a summer tour across the US and Europe with American rock supergroup the Hollywood Vampires. – Photo Credit: Katerina Benzova

This week we offer up the 12th installment of our series called, “Degrees Of Separation…” where we discuss side projects and solo releases from artists we love. We are celebrating the adjacencies to a true rock n' roll icon: ALICE COOPER. Not much to say about the man, the myth, the legend. Capn'n Content suggested that we focus our listening to the gunslinger guitarists that have supported the Coop throughout his long career. So, that's what we are doing! Enjoy.New to InObscuria? It's all about digging up obscure Rock n' Punk n' Metal from one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. While we may be talking about an artist that many of you know in this episode, perhaps you are not aware of the depth of the side projects that the guitarists who've supported him over his 50+ years have. Our hope is that we turn you on to something new!Songs this week include:Hollywood Vampires - “The Boogieman Surprise” from Rise (2019)Billion Dollar Babies - “Too Young” from Battle Axe (1977)Electric Angels - “Dangerous Drug” from Electric Angels (1990)Lou Reed - “Vicious” from Lou Reed Live (1975)Kane Roberts - “Rock Doll” from Kane Robers (1987)Tokyo Police Club - “Little Sister (feat. Orianthi)” from 10x10x10 (2011)Avantasia - “The Toy Master (Feat. Alice Cooper & Henjo Richter)” from The Scarecrow (2008)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

Maz loves the Flintstones, Detroit Lions Cam Sutton wanted for assault, John Mellencamp goes off, Rob Wolchek's newest Hall of Shame member, March Madness is here, a new Bonerline, and our Celebrity Ozempic Watchlist. Oprah ruined Weight Watchers. Ozempic is king. Drew has started a list of celebrities he suspect are using Ozempic or will in the future. Marc has Creighton winning the NCAA Tournament in one of his 3 pools and doesn't know how it happened. Some people are saying to use the Mike Clark ‘chalk' method. GMA has no idea Donald Trump is suing George Stephanopoulos. Detroit Lion CB Cam Sutton is a wanted man as of this recording. Rob Wolchek knocks it out of the park again in his latest Hall of Shame. Everybody is fascinated about the Nickelodeon scandal exposed by “Quiet on the Set: The Dark Side of Kids TV”. Dan Schneider is really sorry, but has lost a ton of weight. Drake Bell vs Boy Meets World. Bell became everything he hates. Jonathan Majors is sued by his ex for defamation and assault. Richard Simmons has skin cancer now. Joy Mode brings you the Bonerline! Use promo code DREW. Call or text 209-66-Boner to communicate with the show. Aaron Rodgers has to answer for private conversations he had 11 years ago. The Truth vs. Alex Jones comes out soon on HBO. Don Lemon and Elon Musk squared off in a contentious interview. Megan Fox was on Call Her Daddy and she admitted to the work she's had done on her body. Scheana Shay claims she was in a throuple with John Mayer, but some people are saying it was just another conquest for John. Tom Mazawey joins us (late because he was in Kroger) to discuss cutting the cord, deep dive on the Flintstones, Cam Sutton's misfortune, chat about March Madness, the start of baseball season and much more. Shohei Ohtani's interpreter is a thief with a gambling problem… or is he covering for the superstar? Check out the Hollywood Vampires and Johnny Depp performing People Who Died. The Feds are after Kwame Kilpatrick for the money he owes again. John Mellencamp got angry on stage in Toledo. Alyssia Langley and Timothy Stephens aren't the best parents out there. Kate Middleton will reveal herself around Easter. Will Leticia James screw over Donald Trump next week? We'll see what she can get her hands on. Joe Biden snubbed black churches in Saginaw. ‘Thrilla the Gorilla' found a glitch in TikTok. Rolling Stone talked to fat fuck Trisha Paytas for some reason. This TikToker is a LIAR and is now being sued for defamation. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Singer-songwriter, multi-instrumentalist, and music producer Buck Johnson is the keyboardist and backing vocalist for the legendary rock band Aerosmith, the Hollywood Vampires (Johnny Depp, Alice Cooper, and Joe Perry), and The Joe Perry Project. Buck hails from the backroads of Shady Grove, Alabama, just outside Birmingham, where he grew up singing gospel throughout the South with his musical family. Since beginning his career, the soulful rock artist has amplified his musical talent by performing in churches, bars, festivals, and concert halls globally alongside icons like Aerosmith, Johnny Depp and Alice Cooper. As a songwriter, Buck co-wrote the international hit single for Carlos Santana, "Just Feel Better," for his 2005 album All That I Am, featuring Steven Tyler. After moving to Nashville in 2006, Buck joined the country rock band Whiskey Falls, releasing their self-titled album in 2007 and earning two Country Top 40 hit singles, "Last Train Running" and "Falling Into You." Buck credits his Alabama roots and his many years of living in California for his soulful rock Cala-Bama sound. Buck has also had numerous songs featured on television and in films as a songwriter, composer, producer, and performer, including the song "You Came Along" featuring Billy Ray Cyrus on vocals for the Lifetime movie Flying By, “Working Man” by Whiskey Falls for the ABC TV show Extreme Makeover-Home Edition, and "Fast Talking Lover" by Whiskey Falls for the ABC TV show Nashville. Continuing to expand his songwriting and musicianship, Buck produced and co-wrote Kaitlyn Kohler's single "I'm Not Crying," which recently went No. 1 at Texas Country radio. Buck has also recorded and/or toured with such notable acts as The Doobie Brothers (“Rockin' Down The Highway” live album), Tal Bachman (hit single “She's So High”), Jon McLaughlan (hit single “Beautiful Disaster”), John Waite, Chris Stills, Timothy B. Schmit (The Eagles), and more. He has also worked as a songwriting collaborator, session vocalist, and musician with songwriters and producers Jamie Houston (High School Musical, Carlos Santana), Charlie Midnight (The Doobie Brothers), and Bob Rock (Tal Bachman). Buck's latest works feature various iconic artists, including his self-produced rock ‘n' roll album, mixed by Chad Carlson (Taylor Swift, Blues Traveler, Chris Isaak, Trisha Yearwood); engineered by Tim Brennan (Steven Tyler, Chris Daughtry, Jason Mraz); Nick Buda on drums (Taylor Swift, Dolly Parton, Kenny Chesney); on guitar, Rob McNelley (Jelly Roll, Keith Urban, Carrie Underwood); Luis Maldonado (Train, Foreigner); and Geoff Pearlman (Linda Perry, Rikki Lee Jones, Jakob Dylan); and Ted Pecchio on bass (Doyle Bramhall II, Derek Trucks Band). The album features notable lead guitarists Damon Johnson (Lynyrd Skynyrd), Peter Stroud (Sheryl Crow), and the songwriting team of Buck and Charlie Midnight (James Brown, Joe Cocker, and Joni Mitchell). As a versatile entertainer, Buck's artistry encompasses American rock ‘n' roll with a unique soulful flare that comes from his gospel roots, creating a sound and style of his own. #aerosmith #hollywoodvampires #steventyler #joeperry #alicecooper #johnnydepp #newmusic #newsingle #newalbum #newrelease #keyboardist #vocalist #guitarist #rockmusic #popmusic #bluesmusic 

Singer-songwriter, multi-instrumentalist, and music producer Buck Johnson is the keyboardist and backing vocalist for the legendary rock band Aerosmith, the Hollywood Vampires (Johnny Depp, Alice Cooper, and Joe Perry), and The Joe Perry Project. Buck hails from the backroads of Shady Grove, Alabama, just outside Birmingham, where he grew up singing gospel throughout the South with his musical family. Since beginning his career, the soulful rock artist has amplified his musical talent by performing in churches, bars, festivals, and concert halls globally alongside icons like Aerosmith, Johnny Depp and Alice Cooper. As a songwriter, Buck co-wrote the international hit single for Carlos Santana, "Just Feel Better," for his 2005 album All That I Am, featuring Steven Tyler. After moving to Nashville in 2006, Buck joined the country rock band Whiskey Falls, releasing their self-titled album in 2007 and earning two Country Top 40 hit singles, "Last Train Running" and "Falling Into You." Buck credits his Alabama roots and his many years of living in California for his soulful rock Cala-Bama sound. Buck has also had numerous songs featured on television and in films as a songwriter, composer, producer, and performer, including the song "You Came Along" featuring Billy Ray Cyrus on vocals for the Lifetime movie Flying By, “Working Man” by Whiskey Falls for the ABC TV show Extreme Makeover-Home Edition, and "Fast Talking Lover" by Whiskey Falls for the ABC TV show Nashville. Continuing to expand his songwriting and musicianship, Buck produced and co-wrote Kaitlyn Kohler's single "I'm Not Crying," which recently went No. 1 at Texas Country radio. Buck has also recorded and/or toured with such notable acts as The Doobie Brothers (“Rockin' Down The Highway” live album), Tal Bachman (hit single “She's So High”), Jon McLaughlan (hit single “Beautiful Disaster”), John Waite, Chris Stills, Timothy B. Schmit (The Eagles), and more. He has also worked as a songwriting collaborator, session vocalist, and musician with songwriters and producers Jamie Houston (High School Musical, Carlos Santana), Charlie Midnight (The Doobie Brothers), and Bob Rock (Tal Bachman). Buck's latest works feature various iconic artists, including his self-produced rock ‘n' roll album, mixed by Chad Carlson (Taylor Swift, Blues Traveler, Chris Isaak, Trisha Yearwood); engineered by Tim Brennan (Steven Tyler, Chris Daughtry, Jason Mraz); Nick Buda on drums (Taylor Swift, Dolly Parton, Kenny Chesney); on guitar, Rob McNelley (Jelly Roll, Keith Urban, Carrie Underwood); Luis Maldonado (Train, Foreigner); and Geoff Pearlman (Linda Perry, Rikki Lee Jones, Jakob Dylan); and Ted Pecchio on bass (Doyle Bramhall II, Derek Trucks Band). The album features notable lead guitarists Damon Johnson (Lynyrd Skynyrd), Peter Stroud (Sheryl Crow), and the songwriting team of Buck and Charlie Midnight (James Brown, Joe Cocker, and Joni Mitchell). As a versatile entertainer, Buck's artistry encompasses American rock ‘n' roll with a unique soulful flare that comes from his gospel roots, creating a sound and style of his own. #aerosmith #hollywoodvampires #steventyler #joeperry #alicecooper #johnnydepp #newmusic #newsingle #newalbum #newrelease #keyboardist #vocalist #guitarist #rockmusic #popmusic #bluesmusic 

Welcome to the Nothing Shocking Podcast 2.0 episode 232 with our guest Buck Johnson (Aerosmith, Hollywood Vampires, Joe Perry Project, Brother Cane, Whiskey Falls).  We discuss his new single and video for Just Feel Better released Feb 23.  The song Buck co-wrote and was originally performed by Carlos Santana and Steven Tyler in 2005.  We also discuss his future plans, new album, as well as touring with Aerosmith, Hollywood Vampires, Brother Cane, and more!   Just Feel Better - written by Jamie Houston, Buck Johnson, Damon Johnson. Video directed by Rick Cabello @deadhorsebranding For  more information visit: https://www.buckjohnson.com/   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org 

Visual Staring OCD (also known as Visual Tourrettic OCD), a complex and often misunderstood form of Obsessive-Compulsive Disorder, involves an uncontrollable urge to stare at certain objects or body parts, leading to significant distress and impairment. In an enlightening conversation with Kimberley, Matt Bannister shares his journey of overcoming this challenging condition, offering hope and practical advice to those grappling with similar issues. Matt's story begins in 2009, marked by a sense of depersonalization and dissociation, which he describes as an out-of-body experience and likened to looking at a stranger when viewing himself in the mirror. His narrative is a testament to the often-overlooked complexity of OCD, where symptoms can extend beyond the stereotypical cleanliness and orderliness. Kimberley's insightful probing into the nuances of Matt's experiences highlights the profound impact of Visual Staring OCD on daily life. The disorder manifested in Matt as an overwhelming need to maintain eye contact, initially with female colleagues, out of fear of being perceived as disrespectful. This compulsion expanded over time to include men and intensified to such a degree that Matt felt his mind couldn't function normally. The social implications of Visual Staring OCD are starkly evident in Matt's recount of workplace experiences. Misinterpretation of his behavior led to stigmatization and gossip, deeply affecting his mental well-being and leading to self-isolation. Matt's story is a poignant illustration of the societal misunderstandings surrounding OCD and its variants. Treatment and recovery form a significant part of the conversation. Matt emphasizes the role of Cognitive Behavioral Therapy (CBT) and Exposure and Response Prevention (ERP) in his healing process. However, he notes the initial challenges in applying these techniques, underscoring the necessity of a tailored approach to therapy. Kimberley and Matt delve into the power of community support in managing OCD. Matt's involvement with the IOCDF (International OCD Foundation) community and his interactions with others who have overcome OCD, like Chris Trondsen, provide him with valuable insights and strategies. He speaks passionately about the importance of self-compassion, a concept introduced to him by Katie O'Dunne, and how it transformed his approach to recovery. A critical aspect of Matt's journey is the realization and acceptance of his condition. His story underscores the importance of proper diagnosis and understanding of OCD's various manifestations, which can be as unique as the individuals experiencing them. Matt's narrative is not just about overcoming a mental health challenge; it's a story of empowerment and advocacy. His transition from a struggling individual to a professional peer support worker is inspiring. He is now dedicated to helping others navigate their paths to recovery, using his experiences and insights to offer hope and practical advice. In conclusion, Matt Bannister's journey through the complexities of Visual Staring OCD is a powerful testament to the resilience of the human spirit. His story offers valuable insights into the disorder, challenges misconceptions, and highlights the importance of tailored therapy, community support, and self-compassion in overcoming OCD. For anyone struggling with OCD, Matt's story is a beacon of hope and a reminder that recovery, though challenging, is within reach. Instagram - matt bannister27 Facebook - matthew.bannister.92 Facebook group - OCD Warrior Badass Tribe Email :matt3ban@hotmail.com Kimberley: Welcome back, everybody. Every now and then, there is a special person that comes in and supports me in this way that blows me away. And today we have Matt Bannister, who is one of those people. Thank you, Matt, for being here today. This is an honor on many fronts, so thank you for being here. Matthew: No, thank you for bringing me on, Kim. This is a huge honor. I'm so grateful to be on this. It's just amazing. Thank you so, so much. It's great to be here. Kimberley: Number one, you have been such a support to me in CBT School and all the things that I'm doing, and I've loved hearing your updates and so forth around that. But today, I really want you to come on and tell your story from start to end, whatever you want to share. Tell us about you and your recovery story. Matthew: Sure. I mean, I would like to start as well saying that your CBT School is amazing. It is so awesome. It's helped me big time in my recovery, so I recommend that to everyone. I'm an IOCDF grassroots advocate. I am super passionate about it. I love being involved with the community, connecting with the community. It's like a big family. I'm so honored to be a part of this amazing community. My recovery story and my journey started back in 2009, when—this is going to show how old I am right now—I remember talking on MSN. I remember I was talking; my mind went blank in a conversation, and I was like, “Ooh, that's weird. It's like my mind's gone blank.” But that's like a normal thing. I can just pass it off and then keep going forward. But the thing is with me. It didn't. It latched on with that. I didn't know what was going on with me. It was very frightening. I believe that was a start for me with depersonalization and dissociation. I just had no idea of what it was. Super scary. It was like I started to forget part of my social life and how to communicate with people. I really did start to dissociate a lot when I was getting nervous. And that went on for about three or four years, but it gradually faded naturally. Kimberley: So you had depersonalization and derealization, and if so, can you explain to listeners what the differences were and how you could tell the differences? Matthew: Yeah. I think maybe, if I'm right with this, with the depersonalization, it felt like I knew how it was, but I didn't at the same time. It was like when I was looking in a mirror. It was like looking at a stranger. That's how it felt. It just felt like I became a shell of myself. Again, I just didn't know what was happening. It was really, really scary. I think it made it worse. With my former friends at that time, we'd make fun of that, like, “Oh, come on, you're not used to yourself anymore. You're not as confident anymore. What's going on? You used to try and take the [03:19 inaudible] a lot with that.” With the dissociation, I felt like I was having an out-of-body experience. For me, if I sat in a room and it was really hitting me hard, as if I were anxious, it would feel like I was floating around that room. I couldn't concentrate. It was very difficult to focus on things, especially if it was at work. It'd be very hard to do so. That came on and off. Kimberley: Yeah, it's such a scary feeling. I've had it a lot in my life too, and I get it. It makes you start to question reality, question even your mental health. It's such a scary experience, especially the first time you have it. I remember the first time I was actually with a client when it started. Matthew: Yeah, it is. Again, it is just a frightening experience. It felt like even when I was walking through places, it was just fog all the time. That's how it felt. I felt like someone had placed a curse on me. I really believe that with those feelings, and how else can I explain it? But that did eventually fade, luckily, in about, like I said, three to four years, just naturally on its own. When I had those sensations, I got used to that, so I didn't put as much emphasis on those situations. Then I carried on naturally through that. Then, well, with going through actually depersonalization, unfortunately, that's when my OCD did hit. For me, it was with, I believe, relationship OCD because I was with someone at the time. I was constantly always checking on them, seeing if they loved me. Like, am I boring you? Because I thought of depersonalization. I thought I wasn't being my full authentic self and that you didn't want to be within me anymore. I would constantly check my messages. If they didn't put enough kisses on the end of a message, I think, “Oh, they don't love me as much anymore. Oh no, I have to check.” All the time, even in phone calls, I always made sure to hear that my partner would say, “Oh, I love you back,” or “I love you.” Or as I thought, I did something wrong. Like they're going off me. I had a spiral, thinking this person was going to cheat on me. It went on and on and on and on with that. But eventually, again, the relationship did fade in a natural way. It wasn't because of the OCD; it was just how it went. And then, with relationship OCD, with that, I faded with that. A search with my friends didn't really affect me with that. Then what I can recall, what I have maybe experienced with OCD, I've had sexual orientation OCD. Again, I was questioning my sexuality. I'm heterosexual, and I was in another warehouse, a computer warehouse, and it was all males there. I was getting what I describe as intrusive thoughts of images of doing sexual acts or kissing and stuff like that. I'm thinking, “Why am I getting these thoughts? I know where my sexuality is.” There's nothing wrong, obviously, with being homosexual or queer. Nothing wrong with that at all. It's just like I said, that's how it fades with me. I mean, it could happen again with someone who's queer, and it could be getting heterosexual thoughts. They don't want that because they know they're comfortable with their sexuality. But OCD is trying to doubt that. But then again, for me, that did actually fade again after about five or six months, just on its own. And then, fast forward two years later is when the most severe theme of OCD I've ever had hit me hard like a ton of bricks. And that for me was Visual Tourettic OCD, known as Staring OCD, known as Ocular Tourettic OCD. And that was horrendous. The stigma I received with this theme was awful. I remembered the day when it hit me, when I was talking to a female colleague. Like we all do, we all look around the room and we try and think of something to say, but my eyes just landed on the chest, like just an innocent look. I'm like, “Oh my God, why did I do that? I don't want to disrespect this person in front of me. I treat her as an equal. I treat everyone the same way. I don't want to feel like she's being disrespected.” So I heavily maintained eye contact after that. Throughout that conversation, it was fine. It was normal, nothing different. But after that, it really latched onto me big time. The rumination was massive. It was like, you've got to make sure you're giving every single female colleague now eye contact. You have to do it because you know otherwise what stigma you could get. And that went on for months and years, and it progressed to men as well a couple of years later. It felt like my mind can't function anymore. I remember again I was sitting next to my friend, who was having a game on the PlayStation. And then I just looked at his lap, just for no reason, just looked at his lap, and he said, “Ooh, I feel cold and want to go and change.” I instantly thought, “Oh my God, is it because he thought I might have stared that I creeped him out?” And then it just seriously latched onto me big time. As we all know, with this as well, when we think of the pink elephant allergy, it's like when we don't think of the pink elephant, what do we do? And that's what it was very much like with this. I remember when it started to get really bad, my eyes would die and embarrass somebody part places. It was like the more anxious I felt about not wanting to do it, the more it happened, where me and my good friend, Carol Edwards, call it a tick with the eye movement. So like Tourette, let's say, when you get really nervous, I don't know if this is all true. When someone's really nervous, maybe they might laugh involuntarily, like from the Joker movie, or like someone swearing out loud. This is the same thing with eye movement. Every time I was talking to a colleague face-to-face to face, I was giving them eye contact, my mind would be saying to me, “Don't look there, don't look there, don't look there,” and unfortunately think it would happen. That tick would happen. It would land where I wouldn't want it to land. It was very embarrassing because eventually it did get noticed. I remember seeing female colleagues covering their hi vis tops, like across their arms. Men would cover their crotches. They would literally cross their legs very blatantly in front of me. Then I could start to hear gossip. This is when it got really bad, because I really heard the stigma from this. No one confronted me by the way of this face-to-face, but I could hear it crystal clear. They were calling me all sorts, like deviant or creep or a perv. “Have you seen his eyes? Have you seen him looking and does that weird things with his eyes? He checks everyone out.” It was really soul-destroying because my compulsion was to get away from everyone. I would literally hide across a room. Where no one else was around, I would hide in the cubicles because it was the only place where I wasn't triggered. It got bad again. It went to my family, my friends, everyone around me. It didn't happen with children, but it happened with every adult. It was horrendous. I reached out to therapy. Luckily, I did get in contact with a CBT therapist, but it was talk therapy. But it's better than nothing. I will absolutely take that. She was amazing. I can't credit my therapist enough. She was awesome. If this person, maybe this is like grace, you're amazing, so thank you for that. She was really there for me. It was someone I could really talk to, and it can help me and understand as best as she could. She did, I believe, further research into what I had. And then that's when I finally got diagnosed that I had OCD. I never knew this was OCD, and everything else made sense, like, “Oh, this is why I was going through all those things before. It all now makes concrete sense what I was going through.” Then I looked up the Facebook group called Peripheral Vision/Visual Tourettic OCD. That was a game-changer for me. I finally knew that I wasn't alone because, with this, you really think you're alone, and you are not. There are thousands of people with this, or even more. That was truly validating. I was like, “Thank God I'm not the only one.” But the problem is, I didn't really talk in that group at first because I thought if other people saw me writing in that group, it's going to really kill my reputation big time. That would be like the final nail in the coffin. Even though it was a private group, no one could do that. But I didn't still trust it that much at that time. I was doing ERP, and I thought great because I've researched ERP. I knew that it's effective. Obviously, it's the gold standard. But for me, unfortunately, I think I was doing it where I was white-knuckling through exposures. Also, when I was hearing at work, still going back to my most triggering place, ERP, unfortunately, wasn't working for me because I wasn't healing. It was like I was going through the trigger constantly. My mind was just so overwhelmed. I didn't have time to heal. I remember I eventually self-isolated in my room. I didn't go anywhere. I locked myself away because I thought I just couldn't cope anymore. It was a really dark moment. I remember crying. It was just like despair. I was like, “What's happening to me? Why is all this happening to me?” Later on, I did have the choice at work. I thought, I can either go through the stillest, hellacious process or I can choose to go on sick leave and give my chance to heal and recover. That's why I did. And that was the best decision I ever made. I recommend that to anyone who's going through OCD severely. You always have a choice. You always have a choice. Never pressure yourself or think you're weak or anything like that, because that's not the case. You are a warrior. When you're going through things like this, you are the most strongest person in the world. It takes a lot of courage to confront those demons every single day to never ever doubt yourself with that. You are a strong, amazing individual. When I did that, again, I could heal. It took me two weeks. Unfortunately, my therapy ended. I only had 10 sessions, but I had to wait another three months for further therapy in person, so I thought, “Oh, at least I do eventually get therapy in person. That's amazing.” And then the best thing happened to me. I found the IOCDF community. Everything changed. The IOCDF is amazing. The best community, in my opinion, the world for OCD. My god, I remember when I first went on Ethan's livestream with Community Conversations. I reached out to Ethan, and he sent me links for OCD-UK. I think OCD Action as well. That was really cool of him and great, and I super appreciate that, and you knew straight away because I remember watching this video with Jonathan Grayson, who is also an amazing guy and therapist, talking about this. I was like, again, this is all that I have. And then after that, I reached out to Chris Trondsen as the expert. What Chris said was so game-changing to me because he's gone through this as well and has overcome it. He's overcome so many severe themes of OCD. I'm like, “This guy is amazing. He is an absolute rock star. Literally like a true champion.” For someone to go through as much as he has and to be where he is today, I can't ask for any more inspirement from that. It's just incredible. He gave some advice as well in that livestream when we were talking because I reached out and said, how did you overcome this? He said, “With the staring OCD, well, I basically told myself, while I'm staring, well, I might as well stare anyway.” And that clicked with me because I'm thinking he's basically saying that he just didn't give it value anymore. I'm like, “That's what I've been doing all this time. I've given so much value, so much importance. That's why it keeps happening to me.” I'm like, “Okay, I can maybe try and work with this.” Then I started connecting with Katie O'Dunne, who is also amazing. She was the first person I actually did hear about self-compassion. I'm like, “Yes, why didn't I learn about this early in my life? Self-compassion is amazing. I need to know all about this.” It makes so much sense. Why'd I keep beating myself up when I treat a friend, like when I talked to myself about this? No, I wouldn't. I just watched Katie's streams and watched her videos and Instagram. It was just an eye-opener for me. I was like, “Wow, she's talking about, like, bring it on mindset as well with this.” When you're about to face the brave thing, just say, “Bring it on. Just bring on," like The Rock says. "Just bring it. I just love that. That's what I did. That's what I started doing. I connected as well with my friend, Carol Edwards, who is also a former therapist and is the author of many books. One of them was Address Staring OCD. If anyone's going through this as well, I really recommend that book. Carol is an amazing, amazing person. Such an intelligent woman. When I met Carol, it was like the first time in my life. I was like, “Wow, I'm actually talking to someone who's got the same theme as me, and a lot of other themes I've gone through, she has as well.” We just totally got each other. I was like, “Finally, I'm validated. I can talk to someone who gets it truly.” And that really helped, let's say, when I started to learn about value-based exposures. I remember, again, Katie, Elizabeth McIngvale, Ethan, and Chris. I was like, “Yeah, I mean, I'm going to do it that way,” because I just did ERP before I was white-knuckling. I never thought of doing it in a value-based way. So I thought, okay, well, what is OCD taking away that I enjoy most doing? That's what I did. I created a hierarchy, or like even in my mind. I thought, well, the cinema, restaurants, coffee shops, going to concerts, eventually going on holiday again, seeing my friends, family is most probably most important. I started doing baby steps. I remember as well, I asked Chris and Liz, how do I open up to this to my family? Because I've got to a point where I just can't hide behind a mask anymore. I need someone else to know who's really close to me. Chris gave me some amazing advice, and Liz, and they said that if you show documents, articles, videos about this, long as they have a great understanding of mental health and OCD, you should be okay. And that's what I did. They know I had OCD. I've told them I had OCD, but not the theme I had. When I showed them documents and videos, it was so nerve-racking, I won't lie. But it was the best thing I ever did because then, when they watched that, they came to me and said, “Why didn't you tell us about this before? I thought you wouldn't understand or grasp this.” I know OCD awareness in the UK is not the best, especially with this theme. But they said, “No, after watching that, we're on your team; we will support you. We are here for you. We will do exposures with you.” And they gave me a massive hug afterwards. I was like, “Oh my God, this is the best scenario for me ever,” because then I can really amplify my recovery. This is where it started really kicking on for me now. Everything I've learned, again, from those videos, watching with the streams from IOCDF, I've incorporated. Basically, when I was going to go to the cinema at first, I know that the cinema is basically darkness. When you walk through there, no one's really going to notice you. Yeah, they might see you in their peripheral vision, but they're going to be more like concentrating on that movie than me. That was my mindset. I was like, “Well, if I was like the other person and I didn't have VTO and the other person did, would I be more concentrated on them or the movie?” And for me, it would be obviously the movie. Why would I else? Unless they were doing something really vigorous or dancing in front of me, I'm not going to look. And that's my mindset. The deep anxiety was there, I will be honest. It was about 80 percent. But I had my value because I was going to watch a film that I really wanted to watch. I'm a big Marvel fan. It was Black Panther Wakanda, and I really enjoyed that. It was a long movie as well. I went with my friend. We got on very, very well. For me as well, with this trigger, I get triggered when people can move as well next to me. I'm very hyper-vigilant with this. That can include me with the peripheral as well. But even though my eyes say they died, it was, okay, instead of beating myself up, I can tell myself this is OCD. I know what this is. It doesn't define me. I'm going to enjoy watching this movie as much as I can and give myself that compassion to do so. After that moment, I was like, “Wow, even though I was still triggered, I enjoyed it. I wasn't just wanting to get out of there. I enjoyed being there.” And that was starting to be a turning point for me because then I went to places like KFC. I miss KFC. I love my chicken bucket. I won't lie with that. That was a big value. You got to love the chicken bucket folks. Oh, it was great. Well, I had my parents around me so that they know I was pretty anxious still. But I was there. I was enjoying my chicken again. I was like, “I miss this so much.” And then the best thing is, as far as I remember, when I left that restaurant, they said to me, “We're so proud of you.” And that helps so much because when you're hearing feedback like that, it just gives you a huge pat on the back. It's like, yeah, I've just done a big, scary thing. I could have been caught. I could have been ridiculed. I could have been made fun of. People may have gossiped about me, but I took that leap of faith because I knew it's better than keep isolating, where in my room, being in prison, not living a life. I deserve to live a life. I deserve to do that. I'm a human being. I deserve to be a part of human society. After that, my recovery started to progress. I went to my friend Carol to more coffee shops. We started talking about advocacy, powerful stuff, because when you have another reason on a why to recover, that's a huge one. When you can inspire and empower others to recover, it gives you so much more of a purpose to do it because you want to be like that role model, that champion for the people. It really gives you a great motive to keep going forward with that and that motivation. And then I went to restaurants with my family for the first time in years, instead of making excuses, instead of compulsion. People would still walk by me in my peripheral, but I had the mindset, like Kate said, “You know what? Just bring it on. Just bring it.” I went in there. I know I was still pretty anxious, and I sat on my phone, and I'm going to tell myself using mindfulness this time that I'm going to enjoy the smell of the food coming in. I'm going to enjoy the conversation with my family instead of thinking of, let's say, the worst-case scenario. The same with a waiter or waitress coming by. I'm just going to have my order. And again, yeah, my eyes die, they spit in my food—who knows? But I'm going to take that leap of faith because, again, it's worth it to do this. It is my why to get my life back. That's why I did it. Again, I enjoyed that meal, and I enjoyed talking to my family. It was probably the first time in years where I wasn't proper triggered. I was like, that was my aha moment right there. The first time in years where my eyes didn't die or anything. I just enjoyed being in a normal situation. It was so great to feel that. So validating. Kimberley: So the more triggered you were, the harder it was to not stare? Is that how it was? Matthew: Yes. The more triggered I was going down that rabbit hole, the more, let's say, it would happen because my eyes would die, like up and down. It would be quite frantic, up and down, up and down. Everyone's not the same. Everyone's different with this. But that's what mine would be like. That's why I would call it a tick in that sense. But when we feel calm, obviously, and the rumination is not there, or let's say, the trigger, then it's got no reason to happen or be very rare when it does. It's like retraining. I learned to retrain my mind in that sense to incorporate that into doing these exposures. Again, that's what was great about opening up to my family. I could practice that at home because then, when I'm sitting with my family, I'd still be triggered to a degree, but they know what I have. They're not going to judge me or reject me, or anything like that. So my brain healed naturally. The more I sat next to my family, I could bring that with, say, the public again and not feel that trigger. I could feel at ease instead of feeling constantly on edge. Again, going to coffee shops late, looking around the room, like you say so amazingly, Kim, using your five senses. I did that, like looking around, looking at billboards, smelling the coffee again, enjoying the taste of it, enjoying the conversation, enjoying the surroundings where I am instead of focusing on the prime fear. And that's what really helped brought me back to the present. Being in the here and the now. And that was monumental. Such a huge tool, and I recommend that to everyone. Mindfulness is very, very powerful for doing, let's say, your exposures and to maintain recovery. It's just a game-changer. I can't recommend that enough. One of my biggest milestones with recovery when I hit it, the first time again in years, I went to a live rock concert full of 10,000 people. There would be no way a year prior that would I go. Kimberley: What rock concert? I have to know. Matthew: Oh, I went to Hollywood Vampires. Kimberley: Oh, how wonderful! That must have been such an efficient, like, it felt like you crossed a massive marathon finish line to get that thing done. Matthew: Oh, yeah, it was. It was huge to see, like I say, Alice Cooper, Johnny Depp, and I think—I can't remember this—Joe Perry from Aerosmith. I can't remember the drummer's name, I apologize, but it was great. You know what? I rocked out. I told myself, “I've come this far in my journey, I'm going to rock out. I'm going to enjoy myself. I don't care, let's say, where my eyes may go, and that's telling OCD, though. I'm just going to be there in the moment and enjoy rocking out.” And that's exactly what I did. I rocked out big time. I remember even the lead singer from the prior band pointing at me and waving. I would have been so triggered by that before, but now we're back in the game, the rock on sign, and it was great. Kimberley: There's so much joy in that too, right? You were so willing to be triggered that you rocked out. That's how willing we were to do that work. It's so cool, this story. Matthew: Yeah. The funny part is, well, the guy next to me actually spilled beer all over himself. That would have been so triggering against me before, like somebody's embarrassing body part places. Whereas this time I just laughed it off and I had a joke with him, and he got the beer. It was like a normal situation—nothing weird or anything. His wife, I remember looking at my peripheral, was just cross-legged. But hey, that's just a relaxing position like anyone else would do. That's what I told myself. It's not because of me thinking, “Oh, he's a weirdo or a creep.” It's because she's just being relaxed and comfortable. That's just retraining my mind out, and again, refocusing back to the concert and again, rocking out to Alice Cooper, which was amazing. I really enjoyed it. I just thought it's just incredible from where I was a year ago without seeing-- got to a point where I set myself, I heard the worst stigma imaginable to go to the other aspect, the whole end of the other tunnel, the light of the tunnel, and enjoy myself and being free. I love what Elizabeth McIngvale says about that, freedom over function. And that's exactly at that point where that's where I was. I'm very lucky to this day. That's why I've maintained it. Sometimes I still do get triggered, but it's okay because I know it's OCD. We all know there's no cure, but we can keep it in remission. We can live a happy life regardless. We just use the tools that we've learned. Again, for me, values-based exposure in that way was game-changing. Self-compassion was game-changing. I forgot to mention my intrusive thoughts with sexual images as well with this, which was very stressing. But when I had those images more and more, it's basically what I learned again from Katie. I was like, “Yeah, you know what? Bring it on. Bring it on. Let's see. Turn it up. Turn it up. Crank it up.” Eventually, the images stopped because I wasn't giving fear factor to it. I was going to put the opposite of basically giving it the talk-to-the-hand analogy, and that worked so well. I see OCD as well from Harry Potter. I see OCD as the boggart, where when you come from the boggart, it's going to come to your most scariest thing. But you have that power of choice right there and then to cast the spell and say ridiculous, as it says in the Harry Potter movies, and it will transform into something silly or something that you can transform yourself with compassion and love. An OCD can't touch you with that. It can't. It becomes powerless. That's why I love that scene from that film. Patrick McGrath says it so well with the Pennywise analogy. The more fear we feed the beast or the monster, the more stronger it becomes. But when we learn to give ourselves self-compassion and love and, again, using mindfulness and value and knowing who we authentically are, truly, it can do nothing. It becomes powerless. It can stay in the backseat, it might try and rear its ugly head again, but you have the more and the power in the world to bring it back, and you can be firmly in that driver's wheel. Kimberley: So good. How long did it take you, this process? Was it a short period of time, or did these value-based exposures take some time? Matthew: Yeah, at first, it took some time to master it, if that makes sense. Again, I was going to start going to more coffee shops with my friend Carol or my family. It did take time. I was still feeling it to a degree, but probably about after a month, it started to really click. And then overall, it took me about-- I started really doing this in December, January time. I went to that concert in July. So about, yeah, six, seven months. Kimberley: Amazing. Were there any stages where there were blips in the road, bumps on the road? What were they like for you? Matthew: Yeah. I mean, my eyes did that sometimes. Also, like I said, when I started to do exposures, where I'd walk by myself around town places, it could be very nerve-wracking. I could think I'm walking behind someone that all the might think I'm a stalker and things like that because of the staring. That was hard. Again, I gave myself the compassion and told myself that it's just OCD. It doesn't define who I am. I know what this monster is, even though it's trying its very best to put me down that rabbit hole. Yeah, that person might turn around and say something, or even look. I have the choice again to smile back, or I can even wave at them if I wanted to do so. It just shows that you really have all the power or choice to just throw some back into OCD space every single time. Self-compassion was a huge thing that helped smooth out those bumps. Same with mindfulness. When I was getting dissociated, even when I was still getting dissociated, getting really triggered, I would use the mindfulness approach. For example, when I was sitting in pubs, and that was a value to me as well, sometimes that would happen. But I would then use the tools of mindfulness. And that really, really helped collect myself being present back in the here and the now and enjoying what's in front of me, like having a beer, having something to eat, talking to my friend, instead of thinking like, are they going to see me staring at them weirdly? Or my eyes met out someone, and I don't know, the waitress might kick me out or something like that. Instead of thinking all those thoughts, I just stay present. The thing is with this as well, it's like when you walk down places, people don't even look at you really anyway. They just go about their business, like we all do. It's just remembering that and keeping that mindfulness aspect. You can look around where you are, like buildings, trees, the ocean, whatever you like, and you can take that in and relearn. Feel the wind around you. If it's an ice wind, obviously, that's freezing right now. The smells—anything, anything if it's a nice smell, or even if it's a bad smell. Anything that use your senses that can just bring you back and feel again that peace, something you enjoy, surround yourself with. Again, when I was seeing my friend Carol, the town I went to called Beverley, it's a beautiful town, very English. It is just a nice place. That's what I was doing—looking at the scenery around where I was instead of focusing on my worst worries. Kimberley: This is so cool. It's all the tools that we talk about, right? And you've put them into practice. Maybe you can tell me if I'm wrong or right about this, but it sounds like you were all in with these skills too. You weren't messing around. You were ready for recovery. Is that true? Or did you have times where you weren't all in? Matthew: Yeah, there were times where I wasn't all in. I suppose when I was-- I also like to ask yourself with me if I feel unworthy. That is still, I know it's different to staring OCD and I'm still trying to tackle that sometimes, and that can be difficult. But again, I use the same tools. But with, like I say, doing exposures with VTO, I would say I was all in because I know that if I didn't, it's going to be hard to reclaim my life back. I have a choice to act and use the tools that I know that's going to work because I've seen Chris do it. It's like, “Well, I can do it. I've seen Carol do it. That means I can do it. So I'm going to do it.” That's what gave me the belief and inspiration to go all in. Because again, reach out to the community with the support. If it was a hard time, I'd reach out. The community are massive. The connection they have and, again, the empowerment and the belief they can give you and the encouragement is just, oh, it's amazing. It's game-changing. It can just light you up straight off the bar when you need it most, and then you can go out and face that big scary thing. You can do it. You can overcome it because other people have. That means you can do it. It's absolutely possible. Having that warrior mindset, as some of my groups—the warrior badass mindset—like to call it, you absolutely go in there with that and you can do it. You can absolutely do it. Kimberley: I know you've shared with me a little bit privately, but can you tell us now what your big agenda is, what your big goal is right now, and the work you're doing? Because it's really exciting. Matthew: Sure, I'd be glad to do it. I am now officially a professional peer support worker. If anyone would love to reach out to me, I am here. It's my biggest passion. I love it. It's like the ultimate reward in a career. When you can help someone in their journey and recovery and even empower each other, inspire, motivate, and help with strategies that's worked for you, you can pass on them tools to someone else who really needs it or is still going through the process where it's quite sticky with OCD. There's nothing more rewarding than that. Because for me, when I was at my most severe, when I was in my darkest, darkest place, it felt like a void. I felt like just walking through a blizzard of nothing. Having someone there to speak to who gets it, who truly gets it, and who can be really authentically there for you to really say, “You can do this. I'm going to do it with you. Let's do it. Like really, let's do it. Bring it on, let's do it. Let's kick this thing's butt,” it's huge. You really lay the smackdown on OCD. It's just massive. For me, if I had that when I was going through it, again, I had a great therapist, but if I had a peer support worker, if I was aware that they were around—I wasn't, unfortunately, at that time—I probably would have reached out because it's a huge tool. It's amazing. Even if you're just to connect with someone in general and just have a talk, it can make all the difference. One conversation, I believe, can change everything in that moment of what that person's darkness may be. So I'm super, super excited with that. Kimberley: Very, very exciting. Of course, at the end, I'll have everyone and you give us links on how to get to you. Just so people know what peer support counseling is or peer support is, do they need to have a therapist? Who's on the team? What is it that they need in order to start peer support? Matthew: Yeah. I mean, you could have a therapist. I mean, I know peer support workers do work with therapists. I know Chrissie Hodges. I've listened to her podcast, and she does that. I think it may be the same with Shannon Shy as well. I'm not too sure. I think as well to the person, what they're going through, if they would want to at first reach out to a peer support worker that they know truly understands them, that can be great. That peer support like myself can then help them find a therapist. That's going to really help them with their theme—or not just their theme—an OCD specialist who gets it, who's going to give them the right treatment. That can be really, really beneficial. Kimberley: I know that we've worked with a lot of peer support, well, some peer support providers, and it was really good because for the people, let's say, we have set them up with exposures and they're struggling to do it in their own time, the peer support counselor has been so helpful at encouraging them and reminding them of the tools that they had already learned in therapy. I think you're right. I think knowing you're not alone and knowing someone's done it, and I think it's also just nice to have someone who's just a few steps ahead of you, that can be very, very inspiring for somebody. Matthew: Absolutely. Again, having a peer support work with a therapist, that's amazing. Because again, for recovery, that's just going to amplify massively. It's like having an infinite gauntlet on your hand against OCD. It's got no chance down the long run. It's incredibly powerful. I love that. Again, like you said, Kim, it's like when someone, let's say, they know that has reached that mountain top of recovery, and that they look at that and thinking, “Well, I want to do the same thing. I know it would be great to connect with that person,” even learn from them, or again, just to have that connection can make a huge, huge difference to know that they can open up to other people. Again, for me, it's climbing up that other mountain top with someone else from the start, but to know I've got the experience, I get to climb that mountain top with them. Kimberley: Yeah, so powerful. Before we finish up, will you tell us where people can get ahold of you if they want to learn more? And also, if there's anything that you feel we could have covered today that we didn't, like a main last point that you want to make. Matthew: Sure. People can reach out to me, and I'm going to try and remember my tags. My Instagram tag is matt_bannister27. I think my Facebook is Matthew.Bannister.92, if you just type in Matthew Bannister. It would be in the show notes as well. You can reach out to me on there. I am at the moment going to create a website, so I will fill more onto that later as well. My email is matt3ban@hotmail.com, which is probably the best way to reach out to me. Kimberley: Amazing. Anything else you want to mention before we finish up? Matthew: Everyone listening, no matter what darkness you're going through, no matter what OCD is putting in your way, you can overcome it. You can do it. As you say brilliantly as well, Kim, it's a beautiful day to do hard things. You can make that as every day because you can do the hard things. You can do it. You can overcome it, even though sometimes you might think it's impossible or that it's too much. You can do it, you can get there. Even if it takes baby steps, you're allowed to give yourself that compassion and grace to do so. It doesn't matter how long it takes. Like Keith Smith says so well: “It's not a sprint; it's a marathon.” When you reach that finish line, and you will, it's the most premium feeling. You will all get there. You will all absolutely get there if you're going through it. Oh, Kim, I think you're on mute. Kimberley: I'm sorry. Thank you so much for being on. For the listeners, I actually haven't heard your story until right now too, so this is exciting for me to hear it, and I feel so inspired. I love the most that you've taken little bits of advice and encouragement from some of the people I love the most on this planet. Ethan Smith, Liz McIngvale, Chris Trondsen, Katie O'Dunne. These are people who I learn from because they're doing the work as well. I love that you've somehow bottled all of their wisdom in one thing and brought it today, which I'm just so grateful for. Thank you so much. Matthew: You're welcome. Again, they're just heroes to me, and yourself as well. Thank you for everything you do as well for the community. You're amazing. Kimberley: Thank you. Thank you so much for being here. Matthew: Anytime.

Welcome to the Nothing Shocking Podcast 2.0 episode 222 with our guest Chris Wyse of the Hollywood Vampires (Owl, Ace Frehley, The Cult, Ozzy Osbourne, Jerry Cantrell, Mick Jagger).  In this episode we discuss Crossbone Skully, new band with Tommy Henriksen (Alice Cooper); a new acoustic band coming soon, The Mad Day Out; and solo material featuring upright bass.  We also discuss the Hollywood Vampires, working with Mick Jagger, and more!   For  more information visit: https://www.chriswyse.com/ https://crossboneskully.com/ https://www.hollywoodvampires.com/ https://intotheowl.com/   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org 

We talk to Tommy Henriksen - Multi Instrumentalist and Guitarist for Alice Cooper, Hollywood Vampires and creator of the epic multi media band Crossbone Skully. Tommy charts his journey through Rock and Roll from early Punk and Hard Rock influences to landing in Los Angeles auditioning for some of the biggest names in Rock and Metal. It's a journey that has brought him to today channelling all his passion into Crossbone Skully, the type of band the young Tommy would have devoured if discovered whilst looking for records in his childhood home of New York. Presented in association with Affinity Photo - The hottest photo editing software on iPad, Mac & PChttps://affinity.serif.com/photoIntro Music by Johnny Monacohttps://www.johnnymonaco.com/ Incidental Music by Night Fires Please visit The Straight To Video Patreon Page to find out how you can help grow this show. https://patreon.com/stvpod

Tommy Henriksen is an American musician, songwriter and producer. He is best known for his work as a guitarist with Alice Cooper and supergroup Hollywood Vampires. His latest project Crossbone Skully recently released a new single produced by Mutt Lange (Def Leppard, AC/DC).  We discuss that project plus working with Poison's CC DeVille, auditioning for Ozzy, Dio & David Lee Roth, his thoughts on Nikki Sixx's bass playing and Johnny Depp's character and more! 00:00 - Intro00:13 - Relationship with Stefan Adika01:25 - Perceptions of L.A.  Vs. New York 03:03 - Band with C.C. DeVille 09:20 - Auditioning for Joan Jett 11:20 - Regrets, Low Point & Haircut 13:47 - Auditioning for Ozzy Osbourne 15:20 - Auditioning for David Lee Roth 17:31 - Auditioning for Ronnie James Dio 18:50 - Playing the Songs Right 19:43 - Crossbone Skully Coming Together 22:40 - Working with Mutt Lange & Phil Collen26:25 - Nikki Sixx Bass Playing & Guest Spots29:05 - Assembling Crossbone Skully 34:40 - Other Elements of New Record 39:50 - Touring for New Record 40:57 - Working as a Producer & Lady GaGa 42:30 - Tommy Lee & Songwriting Co-Writes44:25 - Living the Dream 45:43 - Learning from Alice Cooper 48:30 - Johnny Depp 51:15 - MusiCares 52:30 - Future of Crossbone Skully 54:50 - OutroCrossbone Skully website:https://crossboneskully.com/MusiCares website:https://www.musicares.org/Chuck Shute YouTube:https://youtube.com/@ChuckShute?si=GB0v-8hYshh1eUMsSupport the showThanks for Listening & Shute for the Moon!

From time to time, many among us give thought to our relationship to booze. For some, drinking alcohol poses no drama. For others, it's a problem. Some deal. Some don't. Some will. Others won't. We've lost a lot of musicians to the bottle, and we've been fortunate to see some kick the habit, and stick around a little longer. Here comes a half hour of stories and music from rockstars on the wagon, with related conversation around sobriety that Jeff has had with Ronnie Wood, and Jeff Beck, plus an insightful reflection from Elliot Mintz, on his friend John Lennon, and the story of the Hollywood Vampires. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Buck Johnson has been playing and singing since a very young age, and this experience shows in this interview as Buck takes us through his amazing career to date. We cover everything from Aerosmith's farewell tour, to Buck's production career, working with a range of true greats and his solo work. Lots to enjoy in... The post Buck Johnson, Aerosmith / Hollywood Vampires / Joe Perry Project appeared first on The Keyboard Chronicles.

Sequoia Holmes (Black People Love Paramore) joins the show for the first time to tell us that teenagers really shouldn't be allowed to tweet, as she catches a block for tweeting about Keyshia Cole's singing ability when she was 19 years old. And look, she really wants to be unblocked, so maybe we can help her reunite with a singer she really loves, actually. And we love this episode, as Sequoia tells us about landing Hayley Williams on her podcast, Disturbed's new tour, surface piercings, and we go really deep on the Hollywood Vampires. Plus, we learn about a viral TikTok subway dance, Toronto Fashion Week, cursed clocks, and a BlueSky quote tweet brings back painful memories for Stefan. If you want memories that won't be painful at all, you can head on over to patreon.com/blockedparty, where $5/month will get you three bonus episodes a month PLUS our entire back catalogue. Over 100 episodes! So many memories!!!! This week, our good friend Demi Lardner joins us for a Canadian Education episode about another crazy YTV show, and we have a great deal of fun. Plus, we have ad-free episodes, an exclusive Discord, merch discounts, and lots more, so support the show today! Sequoia Holmes is a podcaster and the host of the great Black People Love Paramore podcast. You can follow her on Twitter and Instagram at @sequoiabholmes. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode Sven Spacebrain from Torpedohead joins me to talk with original L.A. Guns bass player, Kelly Nickels, about one of Sven's favorite records, HOLLYWOOD VAMPIRES. Music by: L.A. Guns Website: www. Rileyslaguns.com Kelly Nickels online store: Facebook Instagram Donate to the show – Rock and Roll Geek Friends And Family Membership DONATE ON […]

Episode # 214 Damon Johnson talks 30th Anniversary Tour of Brother Cane, 2 New Songs, Skynyrd and much more! **Disclaimer - I do not own the music used in this video** Go an purchase the bundle - Reissue of Brother Cane's debut album and catch Damon on tour! https://brothercane.com/ https://www.damonjohnson.com/ (Nashville, TN) - July 12, 2023 - BROTHER CANE is set to make a triumphant return commemorating their 30th Anniversary. A U.S. celebration tour is set to begin October 26 in Woodstock, GA continuing through December 2nd in Memphis, TN. More dates are expected to be announced soon, see below for the initial itinerary and full details. In addition, their 1993 self-titled debut album, a timeless classic, will be reissued on October 20, 2023, and offered on vinyl for the first time igniting a wave of nostalgia and excitement among fans. Adding to the anticipation of this re-release, the band went back into the studio with longtime collaborator and multi-platinum producer Marti Frederiksen and recorded two brand new songs. “Blinded By the Sun” and “Are You In There Anymore,” are set to be released as a special 7” vinyl simultaneously. As founding member Damon Johnson explains of reuniting, “It was our manager, Kevin, who suggested we do this now after hearing from fans at my other shows who kept asking ‘when is Brother Cane coming back?' After Glenn and I had loosely talked over the years of playing music together again, we all felt the time was right for us now.” Co-founding member, Glenn Maxey echoes the same sentiment, “Seldom does a person get the chance to relive a dream that they pursued in their twenties. It's hard to put into words. I'm just extremely grateful for the chance to play great music with great friends at this time in my life. Let's go!” As they hit the stage once again, fans can anticipate the live renditions of the band's chart-topping favorites (“Got No Shame”, “And Fools Shine On”, “I Lie In The Bed I Make” and more), each performance capturing the energy and essence of Brother Cane's signature sound while reigniting the passion that made them favorites of their generation. This highly anticipated reunion tour promises to deliver an unforgettable experience, as they take audiences on a nostalgic journey through their extensive catalog while also introducing some exciting new material. Brother Cane's resurgence serves as a testament to the enduring power of their music. At the heart of Brother Cane's long-awaited reunion are its founding members, Johnson (lead vocals, guitar) and Maxey (bass) who originally formed the band in 1991 in their hometown of Birmingham, AL. Johnson's distinctive guitar skills, vocals, and captivating stage presence, combined with Maxey's solid bass lines and rhythmic foundation, formed the core of the band's signature sound. Brother Cane found immediate success with the release of their self-titled debut album which delivered three singles: “Got No Shame”, “That Don't Satisfy Me,” and “Hard Act to Follow” with “Got No Shame” reaching #1 on the Mainstream Rock charts earning the band U.S. tours with Aerosmith, Robert Plant and Lynyrd Skynyrd. The reunion of these talented and road tested musicians brings an added sense of authenticity and excitement to the tour. The chemistry between Damon and Glenn has stood the test of time, as their musical connection effortlessly translates into electrifying live performances. With their reunion, fans can expect a renewed energy and a deep sense of camaraderie on stage, as the founding members of Brother Cane join forces once again to captivate audiences with their raw talent and unwavering passion for their craft. Joining the duo for this reunion are longtime friends and fellow bandmates Jarred Pope (drums/Tom Keifer Band), Buck Johnson (keys/Aerosmith, Hollywood Vampires), and Tony Higbee (guitar/Tom Keifer Band). Brother Cane Reunion Tour w/ Jared James Nichols and Cage Wills supporting (except where noted) October 26 - Madlife Music Stage, Woodstock, GA * October 27 - Mars Music Hall, Huntsville, AL * November 1 - The Tin Pan, Richmond, VA November 2 - Rams Head on Stage, Annapolis, MD November 3 - Tally Ho, Leesburg, VA November 4 - Mickey's Black Box, Lititz, PA November 5 - Sony Hall, New York, NY November 7 - The Winchester, Cleveland, OH November 8 - Madison Live, Cincinnati, OH November 9 - Wildey Theatre, Edwardsville, IL November 10 - King of Clubs, Columbus, OH ** November 11 - Jergel's Rhythm Grille, Warrendale, PA ** November 12 - Dunellen Theater, Dunellen, NJ November 15 - Miramar Theatre, Milwaukee, WI November 16 - Castle Theater, Bloomington, IL November 17 - The Token Lounge, Westland, MI ** November 18 - Arcada Theatre, St. Charles, IL ** November 29 - The Concourse, Knoxville, TN November 30 - Barrelhouse Ballroom, Chattanooga, TN December 1 - Exit IN, Nashville, TN December 2 - Minglewood, Hall, Memphis, TN *Brother Cane only ** Plus Orianthi Subscribe to Pat's Soundbytes Unplugged Podcast, Pat's Soundbytes IGTV and Pat's Soundbytes Unplugged - Podcast Radio Show on YouTube.

On this episode of The Eddie Trunk Podcast, you're getting Eddie's conversations with Alice Cooper - who talked about his newest album, Road, his tour with Rob Zombie, and if he's interested in doing more with Hollywood Vampires  - and Yngwie Malmsteen who cut it up about his current tour with Glenn Hughes, how he prepares his setlists, if he's working on new music and so much more!  Catch Eddie Trunk every M-F from 3:00-5:00pm ET on Trunk Nation on SiriusXM Faction Talk Channel 103.And don't forget to follow Eddie on Twitter and Instagram!Follow the link to get your free 3-month trial of SiriusXM: http://siriusxm.com/eddietrunk 

In episode #179 of the IN A CROWDED ROOM PODCAST, Chad Calek discusses the controversy surrounding the movie The Sound of Freedom, starring Jim Caviezel, and the mystery behind Hollywood's bizarre refusal to distribute the film, despite its theatrical success and positive message. In addition, Calek discusses countless strange stories he's heard during his time working in Los Angeles and why the “Hollywood Vampires” have good reason to fear Mel Gibson and Ashton Kutcher's recent announcement that in support of The Sound of Freedom, they will be co-producing a project the will expose Hollywood's darkest secrets! You do not want to miss this episode! 

The gang talks to Chris Ahr, NOAA investigator and the inspiration for Mack's “Codename Starman” novels, about his burgeoning Hollywood career. Raven on the sickening history of a concert hall in the Philippines. Switch on the day UFO creatures invaded Rome, Ohio. Plus, Mack reviews Oppenheimer and JJ reveals why he could never play guitar for the Hollywood Vampires.  

The gang talks to Chris Ahr, NOAA investigator and the inspiration for Mack's “Codename Starman” novels, about his burgeoning Hollywood career. Raven on the sickening history of a concert hall in the Philippines. Switch on the day UFO creatures invaded Rome, Ohio. Plus, Mack reviews Oppenheimer and JJ reveals why he could never play guitar for the Hollywood Vampires.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4541473/advertisement

The gang is back with a new show. Switch reports on the case of a haunted German submarine from World War One. Channeler Barbara With on her recent conversations with Princess Di and Albert Einstein. Plus an interview with the ghost-hunting crew, Culz Paranormal Studio, Juan-Juan reviews the latest Hollywood Vampires show & Raven explains why she dislikes her new hair-do.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4541473/advertisement

The gang is back with a new show. Switch reports on the case of a haunted German submarine from World War One. Channeler Barbara With on her recent conversations with Princess Di and Albert Einstein. Plus, an interview with the ghost-hunting crew, Culz Paranormal Studio, Juan-Juan reviews the latest Hollywood Vampires show & Raven explains why she dislikes her new hairdo.     Mack Maloney Online: Website - https://www.mackmaloney.com/ Facebook - https://www.facebook.com/WingmanMack/ Twitter - https://twitter.com/MilitaryXFiles Twitter - https://twitter.com/WingmanMack Amazon – https://amzn.to/2IlFRkq    

The Slamfest Podcast brings the premier rock concert pregaming experience from the parking lot to the podcasting airwaves. Episode 163 - Brad saw another real time show in 2023...L.A. Guns at The Machine Shop in Flint, MI on 7/15/23.  He welcomes Jay Scott from The Hook Rocks! podcast to recap the show.  For the Band on the Bill Spotlight, they discuss L.A. Guns' two most recent albums, Checkered Past from 2021 and Black Diamonds, from 2023 and decide which album they prefer.  After a Slamfest Tip of the Week, they are faced with a "Which Side are you On?" - Side 1 off Cocked & Loaded, from 1989 vs. Side 1 off Hollywood Vampires from 1991.Music in this episode by:RattKissMetallicaTom Petty & The HeartbreakersBon JoviMotorheadCaptain & TenilleBlack SabbathOzzy OsbourneVisit the Slamfest Podcast online at: https://slamfest-podcast.simplecast.comRequest to join the Slamfest Podcast private Facebook page here:https://www.facebook.com/groups/slamfestpodcastE-mail us at : slamfestpodcast@gmail.comVisit Jay Scott, from The Hook Rocks! here:https://podcasts.apple.com/us/podcast/the-hook-rockshttps://www.facebook.com/TheHookRocks

Et quel destin incroyable décrit le documentaire « The Pez Outlaw » ? Avec quel album le chanteur canadien Rufus Wainwright s'apprête à fêter ses 50 ans ? A quel festival Johnny Depp vient-il se produire avec le groupe Hollywood Vampires ? Sur quel roman-culte américain se base la série «City of fire » ? Quel aspect du Mexique dépeint le film « Le dernier wagon » ? Quel titre peut-on déjà découvrir du nouvel album du jazzman Jon Batiste ? Et quelle reprise inattendue propose la chanteuse française Janie ? Toutes les réponses à ces questions sont dans « La semaine des 5 heures » de ce vendredi 9 juin

Tune your ears to another extra-special episode of Fire and Water Records! In part 2 of a super-smash crossover event with Pop Culture Affidavit, the brothers Ryan and Neil Daly welcome guest host Tom Panarese to continue their already-three-hours-long discussion on favorite cover songs for another equally-long-conversation (seriously, what the hell is wrong with these guys?!!). What makes a great cover song? What's the point of covering somebody else's music? Do women sing Tom Waits songs better than he does? Do punk bands play Bob Dylan songs better than he does? Why does Panarese hate his sister? What genre does Neil like more than rock 'n roll? What song makes Ryan think about dying, but like, y'know, in a good way, maybe? All these questions, and many more than you want to know, will be answered on this episode of Fire and Water Records! Track list "Hey Jude" (The Beatles) covered by Wilson Pickett "La Bamba" (Traditional/Ritchie Valens) covered by Los Lobos "Desolation Row" (Bob Dylan) covered by My Chemical Romance "Got to Get a Message to You" (The Bee Gees) covered by Swamp Dogg "It's Hard to Be a Saint in the City" (Bruce Springsteen) covered by David Bowie "Higher Ground" (Stevie Wonder) covered by Red Hot Chili Peppers "Both Sides Now" (Joni Mitchell) covered by Neil Daly "Get Down, Make Love" (Queen) covered by Nine Inch Nails "Landslide" (Fleetwood Mac) covered by Smashing Pumpkins "Drive" (The Cars) covered by Britta Phillips "Ol' 55" (Tom Waits) covered by Sarah McLachlan "Love is All Around" (Sonny Curtis/"The Mary Tyler Moore Show") covered by Joan Jett "Stand By Me" (Ben E. King) covered by Playing For Change "It's the End of the World As We Know It (And I Feel Fine)" (R.E.M.) covered by Great Big Sea "Walk This Way" (Aerosmith) covered by Run D.M.C. Additional songs: "I Will Always Love You" performed by Whitney Houston; "I'm a Believer" performed by The Monkeys; "Bring it On Home to Me" performed by The Animals; "Respect" performed by Aretha Franklin; "Losing My Religion" performed by Ryan Starr; "Knockin' On Heaven's Door" performed by Guns 'n Roses; "Over the Rainbow" performed by Israel Kamakawiwo'ole; "Hazy Shade of Winter" performed by The Bangles; "Whole Lotta Love" performed by The Hollywood Vampires; "Gin and Juice" performed by The Gourds; "I Fought the Law" performed by The Clash; "All I Wanna Do (Is Make Love to You)" performed by Halestorm; "You Should Be Dancing" performed by Foo Fighters; "Gold Dust Woman" performed by Hole; "What I Like About You" performed by Poison; "It's All Over Now, Baby Blue" performed by Them; "Romeo & Juliet" performed by The Indigo Girls; "Boys of Summer" performed by The Ataris; "Come On, Eileen" performed by Save Ferris; "You Really Got Me" performed by Van Halen; "I Think We're Alone Now" performed by Tiffany, To hear part 1 of our discussion on Pop Culture Affidavit, click here. Check out Neil's now-classic take on "Both Sides Now" right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Tune your ears to another extra-special episode of Fire and Water Records! In part 2 of a super-smash crossover event with Pop Culture Affidavit, the brothers Ryan and Neil Daly welcome guest host Tom Panarese to continue their already-three-hours-long discussion on favorite cover songs for another equally-long-conversation (seriously, what the hell is wrong with these guys?!!). What makes a great cover song? What's the point of covering somebody else's music? Do women sing Tom Waits songs better than he does? Do punk bands play Bob Dylan songs better than he does? Why does Panarese hate his sister? What genre does Neil like more than rock 'n roll? What song makes Ryan think about dying, but like, y'know, in a good way, maybe? All these questions, and many more than you want to know, will be answered on this episode of Fire and Water Records! Track list "Hey Jude" (The Beatles) covered by Wilson Pickett "La Bamba" (Traditional/Ritchie Valens) covered by Los Lobos "Desolation Row" (Bob Dylan) covered by My Chemical Romance "Got to Get a Message to You" (The Bee Gees) covered by Swamp Dogg "It's Hard to Be a Saint in the City" (Bruce Springsteen) covered by David Bowie "Higher Ground" (Stevie Wonder) covered by Red Hot Chili Peppers "Both Sides Now" (Joni Mitchell) covered by Neil Daly "Get Down, Make Love" (Queen) covered by Nine Inch Nails "Landslide" (Fleetwood Mac) covered by Smashing Pumpkins "Drive" (The Cars) covered by Britta Phillips "Ol' 55" (Tom Waits) covered by Sarah McLachlan "Love is All Around" (Sonny Curtis/"The Mary Tyler Moore Show") covered by Joan Jett "Stand By Me" (Ben E. King) covered by Playing For Change "It's the End of the World As We Know It (And I Feel Fine)" (R.E.M.) covered by Great Big Sea "Walk This Way" (Aerosmith) covered by Run D.M.C. Additional songs: "I Will Always Love You" performed by Whitney Houston; "I'm a Believer" performed by The Monkees; "Bring it On Home to Me" performed by The Animals; "Respect" performed by Aretha Franklin; "Losing My Religion" performed by Ryan Starr; "Knockin' On Heaven's Door" performed by Guns 'n Roses; "Over the Rainbow" performed by Israel Kamakawiwo'ole; "Hazy Shade of Winter" performed by The Bangles; "Whole Lotta Love" performed by The Hollywood Vampires; "Gin and Juice" performed by The Gourds; "I Fought the Law" performed by The Clash; "All I Wanna Do (Is Make Love to You)" performed by Halestorm; "You Should Be Dancing" performed by Foo Fighters; "Gold Dust Woman" performed by Hole; "What I Like About You" performed by Poison; "It's All Over Now, Baby Blue" performed by Them; "Romeo & Juliet" performed by The Indigo Girls; "Boys of Summer" performed by The Ataris; "Come On, Eileen" performed by Save Ferris; "You Really Got Me" performed by Van Halen; "I Think We're Alone Now" performed by Tiffany, To hear part 1 of our discussion on Pop Culture Affidavit, click here. Check out Neil's now-classic take on "Both Sides Now" right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Sam, Em, and John battle over the new Rancid track, the new Gaslight Anthem track, and Hollywood Vampires! (Everyone agrees Johnny Depp sux, tho). Also discussed, the Rock Hall inductions! John is mad about Joy Division!

The Jeremy White Show welcomes Brett Hellings! Hellings, the new All-Star Supergroup features lead singer Brett Hellings on vocals;  Richard Fortus (Guns N' Roses), Tommy Henriksen (Alice Cooper, Hollywood Vampires, Warlock, Lady Gaga, Meat Loaf), Buck Johnson (Aerosmith, Hollywood Vampires), Billy Sheehan (David Lee Roth, Mr. Big, Steve Vai), and Kenny Aronoff (John Mellencamp, John Fogerty, Smashing Pumpkins).  An endorsement from Alice Cooper on his radio show, “Nights with Alice Cooper,” ultimately led Brett Hellings, a well-traveled singer-songwriter to record with a powerhouse ensemble of the industry's top session and touring musicians.  It was just a 45 second mention on a syndicated radio show, but David Davidian, tour manager for Cooper and The Hollywood Vampires, heard the show, and loved the music so much that he passed it on to some of his musician friends, who embraced the opportunity.   The band just dropped their new single, “A Fool In Love” HERE;  which follows their debut power ballad single that was released titled “Kill Me To Keep Loving You” HERE. 

This week on Rockonteurs, Gary and Guy are joined by a member of one of the biggest rock bands of all time. Joe Perry is the lead guitarist and a founding member of Aerosmith. They have sold over 150 million albums, been inducted into the Rock n Roll Hall of Fame, won countless awards and defined the golden era of MTV. Joe Perry is also a member of Hollywood Vampires with Alice Cooper and Johnny Depp. They have a UK that kicks off in July. Find out more at www.hollywoodvampires.com/tourRockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.

Episode 162 of A History of Rock Music in Five Hundred Songs looks at "Daydream Believer", and the later career of the Monkees, and how four Pinocchios became real boys. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Born to be Wild" by Steppenwolf. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as even after splitting it into multiple files, there are simply too many Monkees tracks excerpted. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, none of those are in print. However, at the time of writing there is a new four-CD super-deluxe box set of Headquarters (with a remixed version of the album rather than the original mixes I've excerpted here) available from that site, and I used the liner notes for that here. Monkees.com also currently has the intermittently-available BluRay box set of the entire Monkees TV series, which also has Head and 33 1/3 Revolutions Per Monkee. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book in 2021, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters — Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Monkees, they were in a state of flux. To recap what we covered in that episode, the Monkees were originally cast as actors in a TV show, and consisted of two actors with some singing ability -- the former child stars Davy Jones and Micky Dolenz -- and two musicians who were also competent comic actors, Michael Nesmith and Peter Tork.  The show was about a fictional band whose characters shared names with their actors, and there had quickly been two big hit singles, and two hit albums, taken from the music recorded for the TV show's soundtrack. But this had caused problems for the actors. The records were being promoted as being by the fictional group in the TV series, blurring the line between the TV show and reality, though in fact for the most part they were being made by session musicians with only Dolenz or Jones adding lead vocals to pre-recorded backing tracks. Dolenz and Jones were fine with this, but Nesmith, who had been allowed to write and produce a few album tracks himself, wanted more creative input, and more importantly felt that he was being asked to be complicit in fraud because the records credited the four Monkees as the musicians when (other than a tiny bit of inaudible rhythm guitar by Tork on a couple of Nesmith's tracks) none of them played on them. Tork, meanwhile, believed he had been promised that the group would be an actual group -- that they would all be playing on the records together -- and felt hurt and annoyed that this wasn't the case. They were by now playing live together to promote the series and the records, with Dolenz turning out to be a perfectly competent drummer, so surely they could do the same in the studio? So in January 1967, things came to a head. It's actually quite difficult to sort out exactly what happened, because of conflicting recollections and opinions. What follows is my best attempt to harmonise the different versions of the story into one coherent narrative, but be aware that I could be wrong in some of the details. Nesmith and Tork, who disliked each other in most respects, were both agreed that this couldn't continue and that if there were going to be Monkees records released at all, they were going to have the Monkees playing on them. Dolenz, who seems to have been the one member of the group that everyone could get along with, didn't really care but went along with them for the sake of group harmony. And Bob Rafelson and Bert Schneider, the production team behind the series, also took Nesmith and Tork's side, through a general love of mischief. But on the other side was Don Kirshner, the music publisher who was in charge of supervising the music for the TV show. Kirshner was adamantly, angrily, opposed to the very idea of the group members having any input at all into how the records were made. He considered that they should be grateful for the huge pay cheques they were getting from records his staff writers and producers were making for them, and stop whinging. And Davy Jones was somewhere in the middle. He wanted to support his co-stars, who he genuinely liked, but also, he was a working actor, he'd had other roles before, he'd have other roles afterwards, and as a working actor you do what you're told if you don't want to lose the job you've got. Jones had grown up in very severe poverty, and had been his family's breadwinner from his early teens, and artistic integrity is all very nice, but not as nice as a cheque for a quarter of a million dollars. Although that might be slightly unfair -- it might be fairer to say that artistic integrity has a different meaning to someone like Jones, coming from musical theatre and a tradition of "the show must go on", than it does to people like Nesmith and Tork who had come up through the folk clubs. Jones' attitude may also have been affected by the fact that his character in the TV show didn't play an instrument other than the occasional tambourine or maracas. The other three were having to mime instrumental parts they hadn't played, and to reproduce them on stage, but Jones didn't have that particular disadvantage. Bert Schneider, one of the TV show's producers, encouraged the group to go into the recording studio themselves, with a producer of their choice, and cut a couple of tracks to prove what they could do. Michael Nesmith, who at this point was the one who was most adamant about taking control of the music, chose Chip Douglas to produce. Douglas was someone that Nesmith had known a little while, as they'd both played the folk circuit -- in Douglas' case as a member of the Modern Folk Quartet -- but Douglas had recently joined the Turtles as their new bass player. At this point, Douglas had never officially produced a record, but he was a gifted arranger, and had just arranged the Turtles' latest single, which had just been released and was starting to climb the charts: [Excerpt: The Turtles, "Happy Together"] Douglas quit the Turtles to work with the Monkees, and took the group into the studio to cut two demo backing tracks for a potential single as a proof of concept. These initial sessions didn't have any vocals, but featured Nesmith on guitar, Tork on piano, Dolenz on drums, Jones on tambourine, and an unknown bass player -- possibly Douglas himself, possibly Nesmith's friend John London, who he'd played with in Mike and John and Bill. They cut rough tracks of two songs, "All of Your Toys", by another friend of Nesmith's, Bill Martin, and Nesmith's "The Girl I Knew Somewhere": [Excerpt: The Monkees, "The Girl I Knew Somewhere (Gold Star Demo)"] Those tracks were very rough and ready -- they were garage-band tracks rather than the professional studio recordings that the Candy Store Prophets or Jeff Barry's New York session players had provided for the previous singles -- but they were competent in the studio, thanks largely to Chip Douglas' steadying influence. As Douglas later said "They could hardly play. Mike could play adequate rhythm guitar. Pete could play piano but he'd make mistakes, and Micky's time on drums was erratic. He'd speed up or slow down." But the takes they managed to get down showed that they *could* do it. Rafelson and Schneider agreed with them that the Monkees could make a single together, and start recording at least some of their own tracks. So the group went back into the studio, with Douglas producing -- and with Lester Sill from the music publishers there to supervise -- and cut finished versions of the two songs. This time the lineup was Nesmith on guitar, Tork on electric harpsichord -- Tork had always been a fan of Bach, and would in later years perform Bach pieces as his solo spot in Monkees shows -- Dolenz on drums, London on bass, and Jones on tambourine: [Excerpt: The Monkees, "The Girl I Knew Somewhere (first recorded version)"] But while this was happening, Kirshner had been trying to get new Monkees material recorded without them -- he'd not yet agreed to having the group play on their own records. Three days after the sessions for "All of Your Toys" and "The Girl I Knew Somewhere", sessions started in New York for an entire album's worth of new material, produced by Jeff Barry and Denny Randell, and largely made by the same Red Bird Records team who had made "I'm a Believer" -- the same musicians who in various combinations had played on everything from "Sherry" by the Four Seasons to "Like a Rolling Stone" by Dylan to "Leader of the Pack", and with songs by Neil Diamond, Jeff Barry and Ellie Greenwich, Leiber and Stoller, and the rest of the team of songwriters around Red Bird. But at this point came the meeting we talked about towards the end of the "Last Train to Clarksville" episode, in which Nesmith punched a hole in a hotel wall in frustration at what he saw as Kirshner's obstinacy. Kirshner didn't want to listen to the recordings the group had made. He'd promised Jeff Barry and Neil Diamond that if "I'm a Believer" went to number one, Barry would get to produce, and Diamond write, the group's next single. Chip Douglas wasn't a recognised producer, and he'd made this commitment. But the group needed a new single out. A compromise was offered, of sorts, by Kirshner -- how about if Barry flew over from New York to LA to produce the group, they'd scrap the tracks both the group and Barry had recorded, and Barry would produce new tracks for the songs he'd recorded, with the group playing on them? But that wouldn't work either. The group members were all due to go on holiday -- three of them were going to make staggered trips to the UK, partly to promote the TV series, which was just starting over here, and partly just to have a break. They'd been working sixty-plus hour weeks for months between the TV series, live performances, and the recording studio, and they were basically falling-down tired, which was one of the reasons for Nesmith's outburst in the meeting. They weren't accomplished enough musicians to cut tracks quickly, and they *needed* the break. On top of that, Nesmith and Barry had had a major falling-out at the "I'm a Believer" session, and Nesmith considered it a matter of personal integrity that he couldn't work with a man who in his eyes had insulted his professionalism. So that was out, but there was also no way Kirshner was going to let the group release a single consisting of two songs he hadn't heard, produced by a producer with no track record. At first, the group were insistent that "All of Your Toys" should be the A-side for their next single: [Excerpt: The Monkees, "All Of Your Toys"] But there was an actual problem with that which they hadn't foreseen. Bill Martin, who wrote the song, was under contract to another music publisher, and the Monkees' contracts said they needed to only record songs published by Screen Gems. Eventually, it was Micky Dolenz who managed to cut the Gordian knot -- or so everyone thought. Dolenz was the one who had the least at stake of any of them -- he was already secure as the voice of the hits, he had no particular desire to be an instrumentalist, but he wanted to support his colleagues. Dolenz suggested that it would be a reasonable compromise to put out a single with one of the pre-recorded backing tracks on one side, with him or Jones singing, and with the version of "The Girl I Knew Somewhere" that the band had recorded together on the other. That way, Kirshner and the record label would get their new single without too much delay, the group would still be able to say they'd started recording their own tracks, everyone would get some of what they wanted. So it was agreed -- though there was a further stipulation. "The Girl I Knew Somewhere" had Nesmith singing lead vocals, and up to that point every Monkees single had featured Dolenz on lead on both sides. As far as Kirshner and the other people involved in making the release decisions were concerned, that was the way things were going to continue. Everyone was fine with this -- Nesmith, the one who was most likely to object in principle, in practice realised that having Dolenz sing his song would make it more likely to be played on the radio and used in the TV show, and so increase his royalties. A vocal session was arranged in New York for Dolenz and Jones to come and cut some vocal tracks right before Dolenz and Nesmith flew over to the UK. But in the meantime, it had become even more urgent for the group to be seen to be doing their own recording. An in-depth article on the group in the Saturday Evening Post had come out, quoting Nesmith as saying "It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured and put on the air strictly with a lot of hoopla. Tell the world we're synthetic because, damn it, we are. Tell them the Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. The show is really a part of us. They're not seeing something invalid." The press immediately jumped on the band, and started trying to portray them as con artists exploiting their teenage fans, though as Nesmith later said "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact it was me that was making the attempt to maintain the integrity. So the press went into a full-scale war against us." Tork, on the other hand, while he and Nesmith were on the same side about the band making their own records, blamed Nesmith for much of the press reaction, later saying "Michael blew the whistle on us. If he had gone in there with pride and said 'We are what we are and we have no reason to hang our heads in shame' it never would have happened." So as far as the group were concerned, they *needed* to at least go with Dolenz's suggested compromise. Their personal reputations were on the line. When Dolenz arrived at the session in New York, he was expecting to be asked to cut one vocal track, for the A-side of the next single (and presumably a new lead vocal for "The Girl I Knew Somewhere"). When he got there, though, he found that Kirshner expected him to record several vocals so that Kirshner could choose the best. That wasn't what had been agreed, and so Dolenz flat-out refused to record anything at all. Luckily for Kirshner, Jones -- who was the most co-operative member of the band -- was willing to sing a handful of songs intended for Dolenz as well as the ones he was meant to sing. So the tape of "A Little Bit Me, A Little Bit You", the song intended for the next single, was slowed down so it would be in a suitable key for Jones instead, and he recorded the vocal for that: [Excerpt: The Monkees, "A Little Bit Me, A Little Bit You"] Incidentally, while Jones recorded vocals for several more tracks at the session -- and some would later be reused as album tracks a few years down the line -- not all of the recorded tracks were used for vocals, and this later gave rise to a rumour that has been repeated as fact by almost everyone involved, though it was a misunderstanding. Kirshner's next major success after the Monkees was another made-for-TV fictional band, the Archies, and their biggest hit was "Sugar Sugar", co-written and produced by Jeff Barry: [Excerpt: The Archies, "Sugar Sugar"] Both Kirshner and the Monkees have always claimed that the Monkees were offered "Sugar, Sugar" and turned it down. To Kirshner the moral of the story was that since "Sugar, Sugar" was a massive hit, it proved his instincts right and proved that the Monkees didn't know what would make a hit. To the Monkees, on the other hand, it showed that Kirshner wanted them to do bubblegum music that they considered ridiculous. This became such an established factoid that Dolenz regularly tells the story in his live performances, and includes a version of "Sugar, Sugar" in them, rearranged as almost a torch song: [Excerpt: Micky Dolenz, "Sugar, Sugar (live)"] But in fact, "Sugar, Sugar" wasn't written until long after Kirshner and the Monkees had parted ways. But one of the songs for which a backing track was recorded but no vocals were ever completed was "Sugar Man", a song by Denny Randell and Sandy Linzer, which they would later release themselves as an unsuccessful single: [Excerpt: Linzer and Randell, "Sugar Man"] Over the years, the Monkees not recording "Sugar Man" became the Monkees not recording "Sugar, Sugar". Meanwhile, Dolenz and Nesmith had flown over to the UK to do some promotional work and relax, and Jones soon also flew over, though didn't hang out with his bandmates, preferring to spend more time with his family. Both Dolenz and Nesmith spent a lot of time hanging out with British pop stars, and were pleased to find that despite the manufactured controversy about them being a manufactured group, none of the British musicians they admired seemed to care. Eric Burdon, for example, was quoted in the Melody Maker as saying "They make very good records, I can't understand how people get upset about them. You've got to make up your minds whether a group is a record production group or one that makes live appearances. For example, I like to hear a Phil Spector record and I don't worry if it's the Ronettes or Ike and Tina Turner... I like the Monkees record as a grand record, no matter how people scream. So somebody made a record and they don't play, so what? Just enjoy the record." Similarly, the Beatles were admirers of the Monkees, especially the TV show, despite being expected to have a negative opinion of them, as you can hear in this contemporary recording of Paul McCartney answering a fan's questions: Excerpt: Paul McCartney talks about the Monkees] Both Dolenz and Nesmith hung out with the Beatles quite a bit -- they both visited Sgt. Pepper recording sessions, and if you watch the film footage of the orchestral overdubs for "A Day in the Life", Nesmith is there with all the other stars of the period. Nesmith and his wife Phyllis even stayed with the Lennons for a couple of days, though Cynthia Lennon seems to have thought of the Nesmiths as annoying intruders who had been invited out of politeness and not realised they weren't wanted. That seems plausible, but at the same time, John Lennon doesn't seem the kind of person to not make his feelings known, and Michael Nesmith's reports of the few days they stayed there seem to describe a very memorable experience, where after some initial awkwardness he developed a bond with Lennon, particularly once he saw that Lennon was a fan of Captain Beefheart, who was a friend of Nesmith, and whose Safe as Milk album Lennon was examining when Nesmith turned up, and whose music at this point bore a lot of resemblance to the kind of thing Nesmith was doing: [Excerpt: Captain Beefheart and the Magic Band, "Yellow Brick Road"] Or at least, that's how Nesmith always told the story later -- though Safe as Milk didn't come out until nearly six months later. It's possible he's conflating memories from a later trip to the UK in June that year -- where he also talked about how Lennon was the only person he'd really got on with on the previous trip, because "he's a compassionate person. I know he has a reputation for being caustic, but it is only a cover for the depth of his feeling." Nesmith and Lennon apparently made some experimental music together during the brief stay, with Nesmith being impressed by Lennon's Mellotron and later getting one himself. Dolenz, meanwhile, was spending more time with Paul McCartney, and with Spencer Davis of his current favourite band The Spencer Davis Group. But even more than that he was spending a lot of time with Samantha Juste, a model and TV presenter whose job it was to play the records on Top of the Pops, the most important British TV pop show, and who had released a record herself a couple of months earlier, though it hadn't been a success: [Excerpt: Samantha Juste, "No-one Needs My Love Today"] The two quickly fell deeply in love, and Juste would become Dolenz's first wife the next year. When Nesmith and Dolenz arrived back in the US after their time off, they thought the plan was still to release "A Little Bit Me, A Little Bit You" with "The Girl I Knew Somewhere" on the B-side. So Nesmith was horrified to hear on the radio what the announcer said were the two sides of the new Monkees single -- "A Little Bit Me, A Little Bit You", and "She Hangs Out", another song from the Jeff Barry sessions with a Davy vocal. Don Kirshner had gone ahead and picked two songs from the Jeff Barry sessions and delivered them to RCA Records, who had put a single out in Canada. The single was very, *very* quickly withdrawn once the Monkees and the TV producers found out, and only promo copies seem to circulate -- rather than being credited to "the Monkees", both sides are credited to '"My Favourite Monkee" Davy Jones Sings'. The record had been withdrawn, but "A Little Bit Me, A Little Bit You" was clearly going to have to be the single. Three days after the record was released and pulled, Nesmith, Dolenz and Tork were back in the studio with Chip Douglas, recording a new B-side -- a new version of "The Girl I Knew Somewhere", this time with Dolenz on vocals. As Jones was still in the UK, John London added the tambourine part as well as the bass: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] As Nesmith told the story a couple of months later, "Bert said 'You've got to get this thing in Micky's key for Micky to sing it.' I said 'Has Donnie made a commitment? I don't want to go there and break my neck in order to get this thing if Donnie hasn't made a commitment. And Bert refused to say anything. He said 'I can't tell you anything except just go and record.'" What had happened was that the people at Columbia had had enough of Kirshner. As far as Rafelson and Schneider were concerned, the real problem in all this was that Kirshner had been making public statements taking all the credit for the Monkees' success and casting himself as the puppetmaster. They thought this was disrespectful to the performers -- and unstated but probably part of it, that it was disrespectful to Rafelson and Schneider for their work putting the TV show together -- and that Kirshner had allowed his ego to take over. Things like the liner notes for More of the Monkees which made Kirshner and his stable of writers more important than the performers had, in the view of the people at Raybert Productions, put the Monkees in an impossible position and forced them to push back. Schneider later said "Kirshner had an ego that transcended everything else. As a matter of fact, the press issue was probably magnified a hundred times over because of Kirshner. He wanted everybody thinking 'Hey, he's doing all this, not them.' In the end it was very self-destructive because it heightened the whole press issue and it made them feel lousy." Kirshner was out of a job, first as the supervisor for the Monkees and then as the head of Columbia/Screen Gems Music. In his place came Lester Sill, the man who had got Leiber and Stoller together as songwriters, who had been Lee Hazelwood's production partner on his early records with Duane Eddy, and who had been the "Les" in Philles Records until Phil Spector pushed him out. Sill, unlike Kirshner, was someone who was willing to take a back seat and just be a steadying hand where needed. The reissued version of "A Little Bit Me, A Little Bit You" went to number two on the charts, behind "Somethin' Stupid" by Frank and Nancy Sinatra, produced by Sill's old colleague Hazelwood, and the B-side, "The Girl I Knew Somewhere", also charted separately, making number thirty-nine on the charts. The Monkees finally had a hit that they'd written and recorded by themselves. Pinocchio had become a real boy: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] At the same session at which they'd recorded that track, the Monkees had recorded another Nesmith song, "Sunny Girlfriend", and that became the first song to be included on a new album, which would eventually be named Headquarters, and on which all the guitar, keyboard, drums, percussion, banjo, pedal steel, and backing vocal parts would for the first time be performed by the Monkees themselves. They brought in horn and string players on a couple of tracks, and the bass was variously played by John London, Chip Douglas, and Jerry Yester as Tork was more comfortable on keyboards and guitar than bass, but it was in essence a full band album. Jones got back the next day, and sessions began in earnest. The first song they recorded after his return was "Mr. Webster", a Boyce and Hart song that had been recorded with the Candy Store Prophets in 1966 but hadn't been released. This was one of three tracks on the album that were rerecordings of earlier outtakes, and it's fascinating to compare them, to see the strengths and weaknesses of both approaches. In the case of "Mr. Webster", the instrumental backing on the earlier version is definitely slicker: [Excerpt: The Monkees, "Mr. Webster (1st Recorded Version)"] But at the same time, there's a sense of dynamics in the group recording that's lacking from the original, like the backing dropping out totally on the word "Stop" -- a nice touch that isn't in the original. I am only speculating, but this may have been inspired by the similar emphasis on the word "stop" in "For What It's Worth" by Tork's old friend Stephen Stills: [Excerpt: The Monkees, "Mr. Webster (album version)"] Headquarters was a group album in another way though -- for the first time, Tork and Dolenz were bringing in songs they'd written -- Nesmith of course had supplied songs already for the two previous albums. Jones didn't write any songs himself yet, though he'd start on the next album, but he was credited with the rest of the group on two joke tracks, "Band 6", a jam on the Merrie Melodies theme “Merrily We Roll Along”, and "Zilch", a track made up of the four band members repeating nonsense phrases: [Excerpt: The Monkees, "Zilch"] Oddly, that track had a rather wider cultural resonance than a piece of novelty joke album filler normally would. It's sometimes covered live by They Might Be Giants: [Excerpt: They Might Be Giants, "Zilch"] While the rapper Del Tha Funkee Homosapien had a worldwide hit in 1991 with "Mistadobalina", built around a sample of Peter Tork from the track: [Excerpt: Del Tha Funkee Homosapien,"Mistadobalina"] Nesmith contributed three songs, all of them combining Beatles-style pop music and country influences, none more blatantly than the opening track, "You Told Me", which starts off parodying the opening of "Taxman", before going into some furious banjo-picking from Tork: [Excerpt: The Monkees, "You Told Me"] Tork, meanwhile, wrote "For Pete's Sake" with his flatmate of the time, and that became the end credits music for season two of the TV series: [Excerpt: The Monkees, "For Pete's Sake"] But while the other band members made important contributions, the track on the album that became most popular was the first song of Dolenz's to be recorded by the group. The lyrics recounted, in a semi-psychedelic manner, Dolenz's time in the UK, including meeting with the Beatles, who the song refers to as "the four kings of EMI", but the first verse is all about his new girlfriend Samantha Juste: [Excerpt: The Monkees, "Randy Scouse Git"] The song was released as a single in the UK, but there was a snag. Dolenz had given the song a title he'd heard on an episode of the BBC sitcom Til Death Us Do Part, which he'd found an amusing bit of British slang. Til Death Us Do Part was written by Johnny Speight, a writer with Associated London Scripts, and was a family sitcom based around the character of Alf Garnett, an ignorant, foul-mouthed reactionary bigot who hated young people, socialists, and every form of minority, especially Black people (who he would address by various slurs I'm definitely not going to repeat here), and was permanently angry at the world and abusive to his wife. As with another great sitcom from ALS, Steptoe and Son, which Norman Lear adapted for the US as Sanford and Son, Til Death Us Do Part was also adapted by Lear, and became All in the Family. But while Archie Bunker, the character based on Garnett in the US version, has some redeeming qualities because of the nature of US network sitcom, Alf Garnett has absolutely none, and is as purely unpleasant and unsympathetic a character as has ever been created -- which sadly didn't stop a section of the audience from taking him as a character to be emulated. A big part of the show's dynamic was the relationship between Garnett and his socialist son-in-law from Liverpool, played by Anthony Booth, himself a Liverpudlian socialist who would later have a similarly contentious relationship with his own decidedly non-socialist son-in-law, the future Prime Minister Tony Blair. Garnett was as close to foul-mouthed as was possible on British TV at the time, with Speight regularly negotiating with the BBC bosses to be allowed to use terms that were not otherwise heard on TV, and used various offensive terms about his family, including referring to his son-in-law as a "randy Scouse git". Dolenz had heard the phrase on TV, had no idea what it meant but loved the sound of it, and gave the song that title. But when the record came out in the UK, he was baffled to be told that the phrase -- which he'd picked up from a BBC TV show, after all -- couldn't be said normally on BBC broadcasts, so they would need to retitle the track. The translation into American English that Dolenz uses in his live shows to explain this to Americans is to say that "randy Scouse git" means "horny Liverpudlian putz", and that's more or less right. Dolenz took the need for an alternative title literally, and so the track that went to number two in the UK charts was titled "Alternate Title": [Excerpt: The Monkees, "Randy Scouse Git"] The album itself went to number one in both the US and the UK, though it was pushed off the top spot almost straight away by the release of Sgt Pepper. As sessions for Headquarters were finishing up, the group were already starting to think about their next album -- season two of the TV show was now in production, and they'd need to keep generating yet more musical material for it. One person they turned to was a friend of Chip Douglas'. Before the Turtles, Douglas had been in the Modern Folk Quartet, and they'd recorded "This Could Be the Night", which had been written for them by Harry Nilsson: [Excerpt: The MFQ, "This Could Be The Night"] Nilsson had just started recording his first solo album proper, at RCA Studios, the same studios that the Monkees were using. At this point, Nilsson still had a full-time job in a bank, working a night shift there while working on his album during the day, but Douglas knew that Nilsson was a major talent, and that assessment was soon shared by the group when Nilsson came in to demo nine of his songs for them: [Excerpt: Harry Nilsson, "1941 (demo)"] According to Nilsson, Nesmith said after that demo session "You just sat down there and blew our minds. We've been looking for songs, and you just sat down and played an *album* for us!" While the Monkees would attempt a few of Nilsson's songs over the next year or so, the first one they chose to complete was the first track recorded for their next album, Pisces, Aquarius, Capricorn, and Jones, Ltd., a song which from the talkback at the beginning of the demo was always intended for Davy Jones to sing: [Excerpt: Harry Nilsson, "Cuddly Toy (demo)"] Oddly, given his romantic idol persona, a lot of the songs given to Jones to sing were anti-romantic, and often had a cynical and misogynistic edge. This had started with the first album's "I Want to Be Free", but by Pisces, it had gone to ridiculous extremes. Of the four songs Jones sings on the album, "Hard to Believe", the first song proper that he ever co-wrote, is a straightforward love  song, but the other three have a nasty edge to them. A remade version of Jeff Barry's "She Hangs Out" is about an underaged girl, starts with the lines "How old d'you say your sister was? You know you'd better keep an eye on her" and contains lines like "she could teach you a thing or two" and "you'd better get down here on the double/before she gets her pretty little self in trouble/She's so fine". Goffin and King's "Star Collector" is worse, a song about a groupie with lines like "How can I love her, if I just don't respect her?" and "It won't take much time, before I get her off my mind" But as is so often the way, these rather nasty messages were wrapped up in some incredibly catchy music, and that was even more the case with "Cuddly Toy", a song which at least is more overtly unpleasant -- it's very obvious that Nilsson doesn't intend the protagonist of the song to be at all sympathetic, which is possibly not the case in "She Hangs Out" or "Star Collector". But the character Jones is singing is *viciously* cruel here, mocking and taunting a girl who he's coaxed to have sex with him, only to scorn her as soon as he's got what he wanted: [Excerpt: The Monkees, "Cuddly Toy"] It's a great song if you like the cruelest of humour combined with the cheeriest of music, and the royalties from the song allowed Nilsson to quit the job at the bank. "Cuddly Toy", and Chip Douglas and Bill Martin's song "The Door Into Summer", were recorded the same way as Headquarters, with the group playing *as a group*, but as recordings for the album progressed the group fell into a new way of working, which Peter Tork later dubbed "mixed-mode". They didn't go back to having tracks cut for them by session musicians, apart from Jones' song "Hard to Believe", for which the entire backing track was created by one of his co-writers overdubbing himself, but Dolenz, who Tork always said was "incapable of repeating a triumph", was not interested in continuing to play drums in the studio. Instead, a new hybrid Monkees would perform most of the album. Nesmith would still play the lead guitar, Tork would provide the keyboards, Chip Douglas would play all the bass and add some additional guitar, and "Fast" Eddie Hoh, the session drummer who had been a touring drummer with the Modern Folk Quartet and the Mamas and the Papas, among others, would play drums on the records, with Dolenz occasionally adding a bit of acoustic guitar. And this was the lineup that would perform on the hit single from Pisces. "Pleasant Valley Sunday" was written by Gerry Goffin and Carole King, who had written several songs for the group's first two albums (and who would continue to provide them with more songs). As with their earlier songs for the group, King had recorded a demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] Previously -- and subsequently -- when presented with a Carole King demo, the group and their producers would just try to duplicate it as closely as possible, right down to King's phrasing. Bob Rafelson has said that he would sometimes hear those demos and wonder why King didn't just make records herself -- and without wanting to be too much of a spoiler for a few years' time, he wasn't the only one wondering that. But this time, the group had other plans. In particular, they wanted to make a record with a strong guitar riff to it -- Nesmith has later referenced their own "Last Train to Clarksville" and the Beatles' "Day Tripper" as two obvious reference points for the track. Douglas came up with a riff and taught it to Nesmith, who played it on the track: [Excerpt: The Monkees, "Pleasant Valley Sunday"] The track also ended with the strongest psychedelic -- or "psycho jello" as the group would refer to it -- freak out that they'd done to this point, a wash of saturated noise: [Excerpt: The Monkees, "Pleasant Valley Sunday"] King was unhappy with the results, and apparently glared at Douglas the next time they met. This may be because of the rearrangement from her intentions, but it may also be for a reason that Douglas later suspected. When recording the track, he hadn't been able to remember all the details of her demo, and in particular he couldn't remember exactly how the middle eight went. This is the version on King's demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] While here's how the Monkees rendered it, with slightly different lyrics: [Excerpt: The Monkees, "Pleasant Valley Sunday"] I also think there's a couple of chord changes in the second verse that differ between King and the Monkees, but I can't be sure that's not my ears deceiving me. Either way, though, the track was a huge success, and became one of the group's most well-known and well-loved tracks, making number three on the charts behind "All You Need is Love" and "Light My Fire". And while it isn't Dolenz drumming on the track, the fact that it's Nesmith playing guitar and Tork on the piano -- and the piano part is one of the catchiest things on the record -- meant that they finally had a proper major hit on which they'd played (and it seems likely that Dolenz contributed some of the acoustic rhythm guitar on the track, along with Bill Chadwick, and if that's true all three Monkee instrumentalists did play on the track). Pisces is by far and away the best album the group ever made, and stands up well against anything else that came out around that time. But cracks were beginning to show in the group. In particular, the constant battle to get some sort of creative input had soured Nesmith on the whole project. Chip Douglas later said "When we were doing Pisces Michael would come in with three songs; he knew he had three songs coming on the album. He knew that he was making a lot of money if he got his original songs on there. So he'd be real enthusiastic and cooperative and real friendly and get his three songs done. Then I'd say 'Mike, can you come in and help on this one we're going to do with Micky here?' He said 'No, Chip, I can't. I'm busy.' I'd say, 'Mike, you gotta come in the studio.' He'd say 'No Chip, I'm afraid I'm just gonna have to be ornery about it. I'm not comin' in.' That's when I started not liking Mike so much any more." Now, as is so often the case with the stories from this period, this appears to be inaccurate in the details -- Nesmith is present on every track on the album except Jones' solo "Hard to Believe" and Tork's spoken-word track "Peter Percival Patterson's Pet Pig Porky", and indeed this is by far the album with *most* Nesmith input, as he takes five lead vocals, most of them on songs he didn't write. But Douglas may well be summing up Nesmith's *attitude* to the band at this point -- listening to Nesmith's commentaries on episodes of the TV show, by this point he felt disengaged from everything that was going on, like his opinions weren't welcome. That said, Nesmith did still contribute what is possibly the single most innovative song the group ever did, though the innovations weren't primarily down to Nesmith: [Excerpt: The Monkees, "Daily Nightly"] Nesmith always described the lyrics to "Daily Nightly" as being about the riots on Sunset Strip, but while they're oblique, they seem rather to be about streetwalking sex workers -- though it's perhaps understandable that Nesmith would never admit as much. What made the track innovative was the use of the Moog synthesiser. We talked about Robert Moog in the episode on "Good Vibrations" -- he had started out as a Theremin manufacturer, and had built the ribbon synthesiser that Mike Love played live on "Good Vibrations", and now he was building the first commercially available easily usable synthesisers. Previously, electronic instruments had either been things like the clavioline -- a simple monophonic keyboard instrument that didn't have much tonal variation -- or the RCA Mark II, a programmable synth that could make a wide variety of sounds, but took up an entire room and was programmed with punch cards. Moog's machines were bulky but still transportable, and they could be played in real time with a keyboard, but were still able to be modified to make a wide variety of different sounds. While, as we've seen, there had been electronic keyboard instruments as far back as the 1930s, Moog's instruments were for all intents and purposes the first synthesisers as we now understand the term. The Moog was introduced in late spring 1967, and immediately started to be used for making experimental and novelty records, like Hal Blaine's track "Love In", which came out at the beginning of June: [Excerpt: Hal Blaine, "Love In"] And the Electric Flag's soundtrack album for The Trip, the drug exploitation film starring Peter Fonda and Dennis Hopper and written by Jack Nicholson we talked about last time, when Arthur Lee moved into a house used in the film: [Excerpt: The Electric Flag, "Peter's Trip"] In 1967 there were a total of six albums released with a Moog on them (as well as one non-album experimental single). Four of the albums were experimental or novelty instrumental albums of this type. Only two of them were rock albums -- Strange Days by the Doors, and Pisces, Aquarius, Capricorn, & Jones Ltd by the Monkees. The Doors album was released first, but I believe the Monkees tracks were recorded before the Doors overdubbed the Moog on the tracks on their album, though some session dates are hard to pin down exactly. If that's the case it would make the Monkees the very first band to use the Moog on an actual rock record (depending on exactly how you count the Trip soundtrack -- this gets back again to my old claim that there's no first anything). But that's not the only way in which "Daily Nightly" was innovative. All the first seven albums to feature the Moog featured one man playing the instrument -- Paul Beaver, the Moog company's West Coast representative, who played on all the novelty records by members of the Wrecking Crew, and on the albums by the Electric Flag and the Doors, and on The Notorious Byrd Brothers by the Byrds, which came out in early 1968. And Beaver did play the Moog on one track on Pisces, "Star Collector". But on "Daily Nightly" it's Micky Dolenz playing the Moog, making him definitely the second person ever to play a Moog on a record of any kind: [Excerpt: The Monkees, "Daily Nightly"] Dolenz indeed had bought his own Moog -- widely cited as being the second one ever in private ownership, a fact I can't check but which sounds plausible given that by 1970 less than thirty musicians owned one -- after seeing Beaver demonstrate the instrument at the Monterey Pop Festival. The Monkees hadn't played Monterey, but both Dolenz and Tork had attended the festival -- if you watch the famous film of it you see Dolenz and his girlfriend Samantha in the crowd a *lot*, while Tork introduced his friends in the Buffalo Springfield. As well as discovering the Moog there, Dolenz had been astonished by something else: [Excerpt: The Jimi Hendrix Experience, "Hey Joe (Live at Monterey)"] As Peter Tork later put it "I didn't get it. At Monterey Jimi followed the Who and the Who busted up their things and Jimi bashed up his guitar. I said 'I just saw explosions and destruction. Who needs it?' But Micky got it. He saw the genius and went for it." Dolenz was astonished by Hendrix, and insisted that he should be the support act on the group's summer tour. This pairing might sound odd on paper, but it made more sense at the time than it might sound. The Monkees were by all accounts a truly astonishing live act at this point -- Frank Zappa gave them a backhanded compliment by saying they were the best-sounding band in LA, before pointing out that this was because they could afford the best equipment. That *was* true, but it was also the case that their TV experience gave them a different attitude to live performance than anyone else performing at the time. A handful of groups had started playing stadiums, most notably of course the Beatles, but all of these acts had come up through playing clubs and theatres and essentially just kept doing their old act with no thought as to how the larger space worked, except to put their amps through a louder PA. The Monkees, though, had *started* in stadiums, and had started out as mass entertainers, and so their live show was designed from the ground up to play to those larger spaces. They had costume changes, elaborate stage sets -- like oversized fake Vox amps they burst out of at the start of the show -- a light show and a screen on which film footage was projected. In effect they invented stadium performances as we now know them. Nesmith later said "In terms of putting on a show there was never any question in my mind, as far as the rock 'n' roll era is concerned, that we put on probably the finest rock and roll stage show ever. It was beautifully lit, beautifully costumed, beautifully produced. I mean, for Christ sakes, it was practically a revue." The Monkees were confident enough in their stage performance that at a recent show at the Hollywood Bowl they'd had Ike and Tina Turner as their opening act -- not an act you'd want to go on after if you were going to be less than great, and an act from very similar chitlin' circuit roots to Jimi Hendrix. So from their perspective, it made sense. If you're going to be spectacular yourselves, you have no need to fear a spectacular opening act. Hendrix was less keen -- he was about the only musician in Britain who *had* made disparaging remarks about the Monkees -- but opening for the biggest touring band in the world isn't an opportunity you pass up, and again it isn't such a departure as one might imagine from the bills he was already playing. Remember that Monterey is really the moment when "pop" and "rock" started to split -- the split we've been talking about for a few months now -- and so the Jimi Hendrix Experience were still considered a pop band, and as such had played the normal British pop band package tours. In March and April that year, they'd toured on a bill with the Walker Brothers, Cat Stevens, and Englebert Humperdinck -- and Hendrix had even filled in for Humperdinck's sick guitarist on one occasion. Nesmith, Dolenz, and Tork all loved having Hendrix on tour with them, just because it gave them a chance to watch him live every night (Jones, whose musical tastes were more towards Anthony Newley, wasn't especially impressed), and they got on well on a personal level -- there are reports of Hendrix jamming with Dolenz and Steve Stills in hotel rooms. But there was one problem, as Dolenz often recreates in his live act: [Excerpt: Micky Dolenz, "Purple Haze"] The audience response to Hendrix from the Monkees' fans was so poor that by mutual agreement he left the tour after only a handful of shows. After the summer tour, the group went back to work on the TV show and their next album. Or, rather, four individuals went back to work. By this point, the group had drifted apart from each other, and from Douglas -- Tork, the one who was still keenest on the idea of the group as a group, thought that Pisces, good as it was, felt like a Chip Douglas album rather than a Monkees album. The four band members had all by now built up their own retinues of hangers-on and collaborators, and on set for the TV show they were now largely staying with their own friends rather than working as a group. And that was now reflected in their studio work. From now on, rather than have a single producer working with them as a band, the four men would work as individuals, producing their own tracks, occasionally with outside help, and bringing in session musicians to work on them. Some tracks from this point on would be genuine Monkees -- plural -- tracks, and all tracks would be credited as "produced by the Monkees", but basically the four men would from now on be making solo tracks which would be combined into albums, though Dolenz and Jones would occasionally guest on tracks by the others, especially when Nesmith came up with a song he thought would be more suited to their voices. Indeed the first new recording that happened after the tour was an entire Nesmith solo album -- a collection of instrumental versions of his songs, called The Wichita Train Whistle Sings, played by members of the Wrecking Crew and a few big band instrumentalists, arranged by Shorty Rogers. [Excerpt: Michael Nesmith, "You Told Me"] Hal Blaine in his autobiography claimed that the album was created as a tax write-off for Nesmith, though Nesmith always vehemently denied it, and claimed it was an artistic experiment, though not one that came off well. Released alongside Pisces, though, came one last group-recorded single. The B-side, "Goin' Down", is a song that was credited to the group and songwriter Diane Hildebrand, though in fact it developed from a jam on someone else's song. Nesmith, Tork, Douglas and Hoh attempted to record a backing track for a version of Mose Allison's jazz-blues standard "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] But after recording it, they'd realised that it didn't sound that much like the original, and that all it had in common with it was a chord sequence. Nesmith suggested that rather than put it out as a cover version, they put a new melody and lyrics to it, and they commissioned Hildebrand, who'd co-written songs for the group before, to write them, and got Shorty Rogers to write a horn arrangement to go over their backing track. The eventual songwriting credit was split five ways, between Hildebrand and the four Monkees -- including Davy Jones who had no involvement with the recording, but not including Douglas or Hoh. The lyrics Hildebrand came up with were a funny patter song about a failed suicide, taken at an extremely fast pace, which Dolenz pulls off magnificently: [Excerpt: The Monkees, "Goin' Down"] The A-side, another track with a rhythm track by Nesmith, Tork, Douglas, and Hoh, was a song that had been written by John Stewart of the Kingston Trio, who you may remember from the episode on "San Francisco" as being a former songwriting partner of John Phillips. Stewart had written the song as part of a "suburbia trilogy", and was not happy with the finished product. He said later "I remember going to bed thinking 'All I did today was write 'Daydream Believer'." Stewart used to include the song in his solo sets, to no great approval, and had shopped the song around to bands like We Five and Spanky And Our Gang, who had both turned it down. He was unhappy with it himself, because of the chorus: [Excerpt: John Stewart, "Daydream Believer"] Stewart was ADHD, and the words "to a", coming as they did slightly out of the expected scansion for the line, irritated him so greatly that he thought the song could never be recorded by anyone, but when Chip Douglas asked if he had any songs, he suggested that one. As it turned out, there was a line of lyric that almost got the track rejected, but it wasn't the "to a". Stewart's original second verse went like this: [Excerpt: John Stewart, "Daydream Believer"] RCA records objected to the line "now you know how funky I can be" because funky, among other meanings, meant smelly, and they didn't like the idea of Davy Jones singing about being smelly. Chip Douglas phoned Stewart to tell him that they were insisting on changing the line, and suggesting "happy" instead. Stewart objected vehemently -- that change would reverse the entire meaning of the line, and it made no sense, and what about artistic integrity? But then, as he later said "He said 'Let me put it to you this way, John. If he can't sing 'happy' they won't do it'. And I said 'Happy's working real good for me now.' That's exactly what I said to him." He never regretted the decision -- Stewart would essentially live off the royalties from "Daydream Believer" for the rest of his life -- though he seemed always to be slightly ambivalent and gently mocking about the song in his own performances, often changing the lyrics slightly: [Excerpt: John Stewart, "Daydream Believer"] The Monkees had gone into the studio and cut the track, again with Tork on piano, Nesmith on guitar, Douglas on bass, and Hoh on drums. Other than changing "funky" to "happy", there were two major changes made in the studio. One seems to have been Douglas' idea -- they took the bass riff from the pre-chorus to the Beach Boys' "Help Me Rhonda": [Excerpt: The Beach Boys, "Help Me Rhonda"] and Douglas played that on the bass as the pre-chorus for "Daydream Believer", with Shorty Rogers later doubling it in the horn arrangement: [Excerpt: The Monkees, "Daydream Believer"] And the other is the piano intro, which also becomes an instrumental bridge, which was apparently the invention of Tork, who played it: [Excerpt: The Monkees, "Daydream Believer"] The track went to number one, becoming the group's third and final number one hit, and their fifth of six million-sellers. It was included on the next album, The Birds, The Bees, and the Monkees, but that piano part would be Tork's only contribution to the album. As the group members were all now writing songs and cutting their own tracks, and were also still rerecording the odd old unused song from the initial 1966 sessions, The Birds, The Bees, and the Monkees was pulled together from a truly astonishing amount of material. The expanded triple-CD version of the album, now sadly out of print, has multiple versions of forty-four different songs, ranging from simple acoustic demos to completed tracks, of which twelve were included on the final album. Tork did record several tracks during the sessions, but he spent much of the time recording and rerecording a single song, "Lady's Baby", which eventually stretched to five different recorded versions over multiple sessions in a five-month period. He racked up huge studio bills on the track, bringing in Steve Stills and Dewey Martin of the Buffalo Springfield, and Buddy Miles, to try to help him capture the sound in his head, but the various takes are almost indistinguishable from one another, and so it's difficult to see what the problem was: [Excerpt: The Monkees, "Lady's Baby"] Either way, the track wasn't finished by the time the album came out, and the album that came out was a curiously disjointed and unsatisfying effort, a mixture of recycled old Boyce and Hart songs, some songs by Jones, who at this point was convinced that "Broadway-rock" was going to be the next big thing and writing songs that sounded like mediocre showtunes, and a handful of experimental songs written by Nesmith. You could pull together a truly great ten- or twelve-track album from the masses of material they'd recorded, but the one that came out was mediocre at best, and became the first Monkees album not to make number one -- though it still made number three and sold in huge numbers. It also had the group's last million-selling single on it, "Valleri", an old Boyce and Hart reject from 1966 that had been remade with Boyce and Hart producing and their old session players, though the production credit was still now given to the Monkees: [Excerpt: The Monkees, "Valleri"] Nesmith said at the time he considered it the worst song ever written. The second season of the TV show was well underway, and despite -- or possibly because of -- the group being clearly stoned for much of the filming, it contains a lot of the episodes that fans of the group think of most fondly, including several episodes that break out of the formula the show had previously established in interesting ways. Tork and Dolenz were both also given the opportunity to direct episodes, and Dolenz also co-wrote his episode, which ended up being the last of the series. In another sign of how the group were being given more creative control over the show, the last three episodes of the series had guest appearances by favourite musicians of the group members who they wanted to give a little exposure to, and those guest appearances sum up the character of the band members remarkably well. Tork, for whatever reason, didn't take up this option, but the other three did. Jones brought on his friend Charlie Smalls, who would later go on to write the music for the Broadway musical The Wiz, to demonstrate to Jones the difference between Smalls' Black soul and Jones' white soul: [Excerpt: Davy Jones and Charlie Smalls] Nesmith, on the other hand, brought on Frank Zappa. Zappa put on Nesmith's Monkee shirt and wool hat and pretended to be Nesmith, and interviewed Nesmith with a false nose and moustache pretending to be Zappa, as they both mercilessly mocked the previous week's segment with Jones and Smalls: [Excerpt: Michael Nesmith and Frank Zappa] Nesmith then "conducted" Zappa as Zappa used a sledgehammer to "play" a car, parodying his own appearance on the Steve Allen Show playing a bicycle, to the presumed bemusement of the Monkees' fanbase who would not be likely to remember a one-off performance on a late-night TV show from five years earlier. And the final thing ever to be shown on an episode of the Monkees didn't feature any of the Monkees at all. Micky Dolenz, who directed and co-wrote that episode, about an evil wizard who was using the power of a space plant (named after the group's slang for dope) to hypnotise people through the TV, chose not to interact with his guest as the others had, but simply had Tim Buckley perform a solo acoustic version of his then-unreleased song "Song to the Siren": [Excerpt: Tim Buckley, "Song to the Siren"] By the end of the second season, everyone knew they didn't want to make another season of the TV show. Instead, they were going to do what Rafelson and Schneider had always wanted, and move into film. The planning stages for the film, which was initially titled Changes but later titled Head -- so that Rafelson and Schneider could bill their next film as "From the guys who gave you Head" -- had started the previous summer, before the sessions that produced The Birds, The Bees, and the Monkees. To write the film, the group went off with Rafelson and Schneider for a short holiday, and took with them their mutual friend Jack Nicholson. Nicholson was at this time not the major film star he later became. Rather he was a bit-part actor who was mostly associated with American International Pictures, the ultra-low-budget film company that has come up on several occasions in this podcast. Nicholson had appeared mostly in small roles, in films like The Little Shop of Horrors: [Excerpt: The Little Shop of Horrors] He'd appeared in multiple films made by Roger Corman, often appearing with Boris Karloff, and by Monte Hellman, but despite having been a working actor for a decade, his acting career was going nowhere, and by this point he had basically given up on the idea of being an actor, and had decided to start working behind the camera. He'd written the scripts for a few of the low-budget films he'd appeared in, and he'd recently scripted The Trip, the film we mentioned earlier: [Excerpt: The Trip trailer] So the group, Rafelson, Schneider, and Nicholson all went away for a weekend, and they all got extremely stoned, took acid, and talked into a tape recorder for hours on end. Nicholson then transcribed those recordings, cleaned them up, and structured the worthwhile ideas into something quite remarkable: [Excerpt: The Monkees, "Ditty Diego"] If the Monkees TV show had been inspired by the Marx Brothers and Three Stooges, and by Richard Lester's directorial style, the only precursor I can find for Head is in the TV work of Lester's colleague Spike Milligan, but I don't think there's any reasonable way in which Nicholson or anyone else involved could have taken inspiration from Milligan's series Q.  But what they ended up with is something that resembles, more than anything else, Monty Python's Flying Circus, a TV series that wouldn't start until a year after Head came out. It's a series of ostensibly unconnected sketches, linked by a kind of dream logic, with characters wandering from one loose narrative into a totally different one, actors coming out of character on a regular basis, and no attempt at a coherent narrative. It contains regular examples of channel-zapping, with excerpts from old films being spliced in, and bits of news footage juxtaposed with comedy sketches and musical performances in ways that are sometimes thought-provoking, sometimes distasteful, and occasionally both -- as when a famous piece of footage of a Vietnamese prisoner of war being shot in the head hard-cuts to screaming girls in the audience at a Monkees concert, a performance which ends with the girls tearing apart the group and revealing that they're really just cheap-looking plastic mannequins. The film starts, and ends, with the Monkees themselves attempting suicide, jumping off a bridge into the ocean -- but the end reveals that in fact the ocean they're in is just water in a glass box, and they're trapped in it. And knowing this means that when you watch the film a second time, you find that it does have a story. The Monkees are trapped in a box which in some ways represents life, the universe, and one's own mind, and in other ways represents the TV and their TV careers. Each of them is trying in his own way to escape, and each ends up trapped by his own limitations, condemned to start the cycle over and over again. The film features parodies of popular film genres like the boxing film (Davy is supposed to throw a fight with Sonny Liston at the instruction of gangsters), the Western, and the war film, but huge chunks of the film take place on a film studio backlot, and characters from one segment reappear in another, often commenting negatively on the film or the band, as when Frank Zappa as a critic calls Davy Jones' soft-shoe routine to a Harry Nilsson song "very white", or when a canteen worker in the studio calls the group "God's gift to the eight-year-olds". The film is constantly deconstructing and commenting on itself and the filmmaking process -- Tork hits that canteen worker, whose wig falls off revealing the actor playing her to be a man, and then it's revealed that the "behind the scenes" footage is itself scripted, as director Bob Rafelson and scriptwriter Jack Nicholson come into frame and reassure Tork, who's concerned that hitting a woman would be bad for his image. They tell him they can always cut it from the finished film if it doesn't work. While "Ditty Diego", the almost rap rewriting of the Monkees theme we heard earlier, sets out a lot of how the film asks to be interpreted and how it works narratively, the *spiritual* and thematic core of the film is in another song, Tork's "Long Title (Do I Have to Do This All Over Again?)", which in later solo performances Tork would give the subtitle "The Karma Blues": [Excerpt: The Monkees, "Long Title (Do I Have To Do This All Over Again?)"] Head is an extraordinary film, and one it's impossible to sum up in anything less than an hour-long episode of its own. It's certainly not a film that's to everyone's taste, and not every aspect of it works -- it is a film that is absolutely of its time, in ways that are both good and bad. But it's one of the most inventive things ever put out by a major film studio, and it's one that rightly secured the Monkees a certain amount of cult credibility over the decades. The soundtrack album is a return to form after the disappointing Birds, Bees, too. Nicholson put the album together, linking the eight songs in the film with collages of dialogue and incidental music, repurposing and recontextualising the dialogue to create a new experience, one that people have compared with Frank Zappa's contemporaneous We're Only In It For The Money, though while t

Charles and Alex listen to Hollywood Vampires and speculate about which musicians might be responsible for 9/11. Full episode on Patreon: https://www.patreon.com/posts/75588898

Today Keith and Chemda discuss GrubHub's catastrophic free food offer to New Yorkers and America reaching over 1,000,000 COVID deaths. The duo dissects audio from one of The Flash's Ezra Miller's multiple arrests, and Amber Heard denies that she shat on Johnny Depp's bed. Selma Blair has a propensity to bite celebrities whom she admires, and Coldplay would like your help to power their concerts.

Today Keith and Chemda discuss GrubHub's catastrophic free food offer to New Yorkers and America reaching over 1,000,000 COVID deaths. The duo dissects audio from one of The Flash's Ezra Miller's multiple arrests, and Amber Heard denies that she shat on Johnny Depp's bed. Selma Blair has a propensity to bite celebrities whom she admires, and Coldplay would like your help to power their concerts.