Podcasts about In My Room

In der neuesten Espresso-Folge von „Mein Lieblingssong“ servieren wir euch die besten Ausschnitte aus den Dezember-Episoden. Fünf spannende Gäste teilen die Geschichten hinter ihren Lieblingssongs – von Inspiration und Nostalgie bis zu unerwarteten Wendungen. Perfekt für alle, die Musik lieben!Linda Jo Rizzo erzählt, wie „Hero“ sie durch schwere Zeiten trug. Ein emotionaler Einblick in die Bedeutung eines Liedes, das Mut und Kraft schenkt. Winfried Bode nimmt uns mit in die 60er-Jahre und schildert, wie ihn „In My Room“ von The Beach Boys begleitet hat – vom Plattenladen bis zur Bühne als Vorband der Kinks. Eine zufällige Plattenkisten-Entdeckung führte Jan Urbanek zu seinem Lieblingssong „European Son“ von The Velvet Underground– eine Geschichte über jugendliche Neugier und die Kraft des Unerwarteten. Und Miriam Betancourt erzählt, wie sie während eines PR-Jobs in den USA auf den Bossa-Nova-Klassiker „Girl From Ipanema“ von Getz/Gilberto stieß, der sie bis heute inspirierte. Wolfgang Roggenkamp verrät, wie eine Kassette und ein Briefträger ihn mit dem Beatles-Song „And Your Bird Can Sing“ verbanden – humorvoll und voller Leidenschaft für die Musik. Erlebt, wie Musik Leben prägt und besondere Momente unvergesslich macht. Neue Folgen gibt es jeden Donnerstag. Lasst euch inspirieren – und genießt euren Espresso mit „Mein Lieblingssong“!Und damit du einen richtig guten Espresso beim Podcast hören genießen kannst, mach einfach mit bei unserem Gewinnspiel und gewinne ein Kilo Premium-Espresso von der Martermühle Kaffeerösterei aus Bayern. Wie kannst du gewinnen? Ganz einfach: Abonniere unseren Newsletter auf www.meinlieblingssong.com Teilnahmeschluss ist der 25.02.2025; Teilnahmebedingungen zum Gewinnspiel findest du auf unserer Website.Dein Lieblingskaffee zum Lieblingssong von den AroMagiern aus der Kaffeerösterei Martermühle.Hier geht es zum Lieblingskaffee: MartermühleHöre deinen Lieblings-Podcast und deine Lieblingsmusik doch einfach auf einem sonoro Musiksystem.Das sonoro MEISTERSTÜCK und viele andere Produkte aus der sonoro Klangschmiede findet ihr hier: sonoro.com Hinterlasse gerne eine Bewertung und abonniere unseren Podcast bei deinem Streamingportal der Wahl und verpasse keine Folge. Und wenn du alle Neuigkeiten zum Podcast „Mein Lieblingssong“ mitbekommen möchtest, dann melde dich hier für unseren wöchentlichen Newsletter an: Kostenloser Newsletter Hosted on Acast. See acast.com/privacy for more information.

Die 60er-Jahre der Musikgeschichte waren eine magische Zeit, und „In My Room“ von den Beach Boys hat für Winfried Bode, Sänger und Gitarrist, eine ganz besondere Bedeutung. In dieser nostalgischen Folge erzählt er von seinen Tagen als Jugendlicher, als er stundenlang in der Schallplattenbar verbrachte, um seine Lieblingssongs zu hören. Lass dich von seiner Begeisterung anstecken, während er von seiner Zeit als Vorgruppe von The Kinks berichtet und die unvergessliche Atmosphäre der Musikszene der 60er und 70er Jahre zum Leben erweckt. Eine Episode, die dich mitten hinein in eine vergangene Ära führt, die bis heute fasziniert.Höre deinen Lieblings-Podcast und deine Lieblingsmusik doch einfach auf einem sonoro Musiksystem.Das sonoro MEISTERSTÜCK und viele andere Produkte aus der sonoro Klangschmiede findet ihr hier: sonoro.com„Mein Lieblingssong“ - Live in LuxemburgMit unserem Podcast sind wir am Samstag, 3. Mai 2025, im Trifolion in Echternach zu Gast. Weitere Informationen & Tickets ab sofort im Trifolion oder direkt hier online: Tickets buchen.Presented by sonoro.Hinterlasse gerne eine Bewertung und abonniere unseren Podcast bei deinem Streamingportal der Wahl und verpasse keine Folge. Und wenn du alle Neuigkeiten zum Podcast „Mein Lieblingssong“ mitbekommen möchtest, dann melde dich hier für unseren wöchentlichen Newsletter an: Kostenloser NewsletterHier findest du mehr Informationen über Winfried Bode.Geschichten aus den 70ern: Mein Lieblingssong - Album 1 als Hörbuchversion.Gibt es überall, wo es gute Hörbücher gibt.Geschichten aus den 80ern: Mein Lieblingssong - Album 2 als Hörbuchversion.Gibt es überall, wo es gute Hörbücher gibt.Habt ihr Lust auf eine „Mein Lieblingssong“-Tasse oder T-Shirt? Dann schaut mal in unserem Shop vorbei: Hier klicken! Hosted on Acast. See acast.com/privacy for more information.

In 2013, after having posted a series of videos recorded in his family home in North London of himself singing a cappella arrangements of classic - yet sometimes obscure - songs on YouTube, a critical mass began to form around Jacob Collier.  His videos of Stevie Wonder's “Isn't She Lovely” and “Don't You Worry Bout A Thing” were passed around by musicians and music enthusiasts and by 2014 he was being managed by Quincy Jones and traveling around the world. He was one of the first career artists to emerge on YouTube. Jacob's journey since then has been nothing short of extraordinary. Today, at 30 years old, with six Grammys, millions of fans, and collaborations ranging from Herbie Hancock to Chris Martin, his influence spans generations. His Djesse project—four albums in six years, exploring 50 songs and countless collaborations —represents not just his creativity but his ability to bring others into his world. From arenas to intimate collaborations, Jacob Collier is now a fact of musical life. Yet, he remains tied to his roots: the small room in his mother's house where it all began. His first album, In My Room, was both a tribute to that space and a manifesto for his artistic philosophy. Before his star had really begun to rise, I met with Collier in late 2014. He invited me to his family home in North London, where his mother greeted me with tea and cookies while he returned from university. When we finally sat down in his music room to talk, his brilliance was immediately apparent. He spoke about sound with sensitivity and clarity, blending perfect pitch, synesthesia, and a boundless curiosity. He was still a kid, but one with an expansive vision. That conversation remains a revelation. It captured a young artist at the cusp of greatness. It is also the first interview of its kind that exists with the extraordinary artist . Ten years after that first interview, I'm reminded why I started this podcast: to capture history as it's being made. Jacob Collier's story is one of boundless curiosity and connection—a message in a bottle that changed the tide. Get 45% off the Magic Mind bundle with with my link: https://www.magicmind.com/LEOJAN www.third-story.comwww.leosidran.substack.com

Order THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.comHaley Joelle is a 24-year-old songwriter and artist from outside of Portland, OR, currently based in LA. Haley is known for her unique and specific approach to storytelling in her songs that have resonated with millions of people around the world. Her lyrics touch on family dynamics, the complications of growing up, grief, and heartbreak - all lending themselves to help her listeners feel less alone. Haley's songs have been discovered on popular playlists including Spotify's Chilled Hits, Chill Pop, Fresh & Chill, Sad Hour, Sad Songs, Today's Singer-Songwriters, Morning Commute, Mellow Evening, and Apple Music's Breaking Pop, In My Room, Acoustic Chill, Today's Acoustic, Acoustic Memories, and New Music Daily. Her songs have been streamed more than 100 million times, and featured in Amazon Prime Video's #1 most watched non-English language original movie, ‘Culpa Mía' as well as the popular TV shows ‘Love Island USA' and ‘Love Island Games.' After a couple tour support slots, and with 450k+ engaged fans around the world, she embarked on her first mini headline tour in December 2023 after the release of her album ‘Me And My Past.' Haley's next album is due September 2024.00:00 - Intro03:55 - Haley's songwriting and album process15:52 - Alternative music programs and networking21:50 - How did Haley find other collaborators?29:29 - Haley on music videos34:07 - On staying independent and talking to labels43:07 - Pitching for playlist inclusions55:23 - Where does the money go?Subscribe to The New Music Business: https://aristake.com/new-music-business-podcast/Ari's Take Academy: https://aristakeacademy.comWatch more discussions like this: https://bit.ly/3LavMpaConnect with Ari's Take:Website: https://aristake.comInstagram: https://www.instagram.com/aristake_TikTok: https://www.tiktok.com/@aris.takeX: https://twitter.com/ArisTakeThreads: https://www.threads.net/@aristake_YouTube: https://www.youtube.com/user/aristake1Connect with Ari Herstand:Website: https://ariherstand.comInstagram: https://instagram.com/ariherstandX: https://twitter.com/ariherstandYouTube: https://youtube.com/ariherstandConnect with Haley Joelle :Website: https://haley-joelle-merch.myshopify.com/Spotify: https://open.spotify.com/artist/4pZOG8ump4odtJJA4Cy7S8Instagram: https://www.instagram.com/itshaleyjoelle/X: https://x.com/itshaleyjoelleEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's Take Hosted on Acast. See acast.com/privacy for more information.

Love Is The Answer 20 April This weeks show is full of new music From Inflyte Promo...Big Shout To All The Labels And Producers Who Sent Us Music This Week 1. I Wanna Get Lost Majoness 2. In My Room ft. SHELLS (VIP Instrumental Extended Mix) Dombresky & Makinn 3. Corazon (Ordonez Rework) Jorge Andrade 4. That's The Kind Of Love I've Got For You (Extended Mix) James Hurr, DJ Rae 5. Free (Mitch Oliver Remix) Ultra Nate 6. Runna (Extended Mix) General Moses 7. Magic Touch (Extended Mix) KeeQ x Talon 8. Weak (Marco Lys Remix) Vintage Culture, Maverick Sabre & Tom Bre 9. Makele x Spring Girl (SUNANA Edit) Vintage Culture x Joy N Juno x Maori x Adam Ten 10. Dame Mas (Extended Mix) BADDIES ONLY, CAVALLI, Mathieu 11. Hear My Call (Extended Mix) GiddiBangBang 12. White Treble Black Bass (Slick's Discotizer ReCut Extended Mix) Sgt Slick https://www.facebook.com/OfficialLoveVibrationNation/ https://www.facebook.com/TheCocreators https://soundcloud.com/love-vibration-nation https://thecocreatorsmusic.com/

Love Is The Answer With The CoCreators This weeks show is packed with FEEL GOOD FUNKY HOSE MUSIC Shout out to all the labels that sent us music this week 1. Je Suis VITO (UK) 2. What Were You Thinking MASLAF 3. Gotta Work Eldon 4. In My Room ft. SHELLS Dombresky & Makinn 5. Corazon (Ordonez Rework) Jorge Andrade 6. That's The Kind Of Love I've Got For You (Extended Mix) James Hurr, DJ Rae 7. Forever Always (Anthony Attalla Remix) Gene Farris, DJ Rae 8. Freedom (Low Steppa Extended Remix) Jack Back & Cece Rogers 9. Feelings (Extended Mix) KLP 10. My Desire (Extended Mix) Cherry Tooth 11. All My Love (Rubber People Extended Remix) Sgt Slick & Super Disco Club 12. Rocking Music (Sgt Slick's Filtered ReCut) Martin Solveig 123.00 07:20 Bm 2024-03-16 13. Street Dancer (Sgt Slick's Discotizer Avicii https://www.facebook.com/OfficialLoveVibrationNation/ https://www.facebook.com/TheCocreators https://soundcloud.com/love-vibration-nation https://thecocreatorsmusic.com/

Le DJ et producteur français Dombresky, qui vient de sortir son single « In My Room » et qui est actuellement en pleine tournée américaine !

In this episode, John sits down with singer and multi-instrumentalist Jacob Collier, delving into the creative process behind his album ‘Djesse Vol. 4,' the concluding instalment in his four-part ‘Djesse' album series. Jacob first shot to fame in 2013 when videos of his complex vocal arrangements went viral on YouTube. Three years later, he released his debut album ‘In My Room', written and recorded entirely from his family home. In 2018, Jacob set to work on Djesse, a four-volume, 50-song, album series featuring collaborations with artists around the world, which to date has earned him 6 Grammy nominations. Throughout the conversation, Jacob shares his original demos and discusses his approach to fusing such a plethora of musical genres, from rap and gospel, to dance and Kpop. He also discusses the collaborations that shaped the album, with artists including Chris Martin, Lindsay Loomis, and Willow Smith, as well as his audiences from live shows around the world. Tracks discussed: Over You, 100,000 Voices, Cinnamon Crush LINKS TO EVERYTHING TAPE NOTES   linktr.ee/tapenotes  Listen to ‘Djesse Vol. 4' here . Hajanga Records, Interscope Records/Decca, Universal Music Operations Limited Intro Music - Sunshine Buddy, Laurel Collective    GEAR MENTIONS Little Alterboy Oek Sound Soothe Xfer LFO Tool Gladiator Synth AKG C414 Neumann U87 Neumann U87 Customised by Klaus Heyne Sony MX4000 Headphones Native Instruments Taylor 5 String Guitar (custom) Strandberg Guitars Electric 5 String Mandocello OUR GEAR https://linktr.ee/tapenotes_ourgear HELP SUPPORT THE SHOW If you'd like to help support the show you can donate as little or as much as you'd like here, (we really appreciate your contributions :)  Donate Or you can join us on Patreon, where among many things you can access full length videos of most new episodes, ad-free episodes and detailed gear list breakdowns. KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Instagram: @tapenotes  Twitter: @tapenotes  Facebook: @tapenotespodcast   YouTube: Tape Notes Podcast Discord: Tape Notes Patreon: Tape Notes To let us know the artists you'd like to hear, Tweet us, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk TAPE NOTES TEAM Will Brown - Executive Producer, Engineer & Editor Tim Adam-Smith - Executive Producer, Videographer Will Lyons - Editor Nico Varanese - Videographer, Editor Guy Nicholls - Production Assistant Jessica Clucas - Production Assistant Katie-Louise Buxton - Production Assistant Seb Brunner-Stolovitzky - Production Assistant Learn more about your ad choices. Visit megaphone.fm/adchoices

Dombresky drops the brand new Westend "All For You" remix, his remix of his own track "In My Room", and some of the latest and greatest in the world of house on a fresh #ProcessRadio! 01. Shadow Child - Rising High 02. Us Two feat. MariaDennis - Get Bossy 03. LF SYSTEM - All I've Got 04. Patrick Topping x Kevin Saunderson - Frisk 05. Niko The Kid - Deeper Love 06. Odd Mob & OMNOM present HYPERBEAM - All Day, All Night 07. The Reactivitz - Never Stop 08. Maur - Disco Tool 09. Lex (Athens), Dennis Liber - No Time For Formalities 10. Dombresky & JADED - All For You (Westend Remix) [HOTTEST TRACK] 11. Daniel Steinberg - Something You Should Know 12. Raumakustik x Gunjah - Nu Rave 13. Francis De Simone - Switch 14. Roger Da'Silva - One More Time 15. Will Clarke x BURNS - Give Me 16. The Blessed Madonna - Happier ft. Clementine Douglas 17. Mark Knight, Armand Van Helden - Don't Abuse It 18. Dombresky - In My Room (Dombresky & Makinn Remix) 19. James Haskell - Harlem Jam 20. Matt Guy - Raindrops (Ready To Fly) 21. Dennis Ferrer - Hey Hey (Jack Back Remix)

Something To Give Each Other, come non l'avete mai assaggiato. Tirate fuori il Rush e inspirate fortissimo, in questo episodio siamo solo One Of Your Girls, Troye Sivan. Per la prima volta parliamo della musica del twinkino australiano, ovviamente nella maniera più Silly possibile. Se volete essere spalmati di Honey facendo un po' i libertini, o se preferite restare In My Room e pensare all'amore piangendo, noi sappiamo How To Stay With You.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

This Week On America's Podcast The Free Form Rock Podcast with Guest Eric "RMCP" Jordan returns for Part 2 as he was here for Load discussing Metallica's Reload album is an interesting and engaging review. The hosts provide a unique perspective and offer a mix of both positive and critical insights. Whether it's considered "shit" or "good" ultimately depends on your personal taste in music and your opinion on Metallica's Reload album. To find out for yourself, I recommend giving it a listen and forming your own judgment. Tracks Of The Week. Jerry, "The Conjuring" by Megadeth. Marc, "On The Hunt" by Corrosion Of Conformity. Charles, "War Remains" by Enforced. Eric, "In My Room" by Asking Alexandra. Until Next Week Unload The Crap and Reload the Booze! #metallica #reload #90s #americaspodcast #freeformrockpodcast  

I talk about my two of my favorite serial killers in gory and bloody detail! Host - Michael D. Keeney Music by Papa Roach Michael D. Keeney Slayer Insane Clown Posse www.instagram.com/music_murder_podcast

Bizarrap, Milo J, Beret, Bad Gyal, Melendi y Hens estrenan sus nuevas canciones. Ganadores de los Premios Billboard de la Música Latina 2023. Crónica de Louis Tomlinson en el Wizink Center de Madrid. Troye Sivan y Guitarricalafuente se unen en 'In My Room'. Así suena la canción de Rosalía y Björk: un tema protesta contra las granjas de peces en Islandia.

On the sixth episode of the audio interview series, Host Jibril Osman sat down with Tyler, Texas Chance Peña. In the conversation, among other topics, discussed were his smash record, "In My Room," how Kid Cudi influenced him to be more vulnerable in his music, tour life, and taking care of your mental health.

Dr. Ivan Misner"Who's In My Room?"www.ivanmisner.comwww.bni.comProfessor Adam Hart"The Deadly Balance"https://www.bloomsbury.com/us/deadly-balance-9781472985323/https://www.glos.ac.uk/staff/profile/adam-hart/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/3240061/advertisement

Welcome back to "Your Daily Riddle" podcast, where we challenge your mind with intriguing riddles every day. Whether you're a riddle rookie or a seasoned solver, there's always something here for everyone. I'm your host, Aaron Jolly, and we have a real challenge for you today.  Episode 123 - "In My Room"

Dombresky drops his brand new tracks "I Really Love You" and "In My Room" as well as new cuts from MK & Dom Dolla, Boston Bun, Snakehips, BLONDISH, Mark Knight and many more on a brand new #ProcessRadio!Dombresky drops his brand new track with SHELLS "In My Room" as well as new cuts from Jamie Jones, Michael Bibi, Jaded, Fletcher Kerr, Nic Fanciulli and many more on a fresh #ProcessRadio! 01. Dombresky - In My Room 02. Michael Bibi, KinAhau, feat. Audio Bullys - Different Side 03. Luca Olivotto - Everything 04. Polina, A'studio - SOS feat. Polina (Skylark Remix - Nic Fanciulli Edit) 05. Roach Motel - Movin' On (Darius Syrossian Edit) 06. Monki - Get Get Down 07. Borai & Denham Audio - Make Me 08. Fletcher Kerr - Gotta Be Real 09. Jamie Jones - Lose My Mind [TRACK OF THE WEEK] 10. Shaded (LA) - Naughty Mofo 11. Floorplan - Makes Me Wanna 12. Junior Jack vs Juliet Sikora, Flo Mrzdk - Thrill Me 13. Austin Ato - Angels On Acid 14. Johan S & Oliver Knight - Get Weak (Ango Tamarin Remix) 15. Papa Marlin, Bondar - Crash That Party 16. Kenny Summit - Oakland Rollerskating Association 17. Mirko & Meex - All Night 18. Odd Mob - LEFT TO RIGHT (JADED Remix) 19. A.D.O.R., Big Miz - Renegade 20. t e s t p r e s s - waiting for splitter

Dombresky drops his brand new tracks "I Really Love You" and "In My Room" as well as new cuts from MK & Dom Dolla, Boston Bun, Snakehips, BLONDISH, Mark Knight and many more on a brand new #ProcessRadio! 01. Dombresky - IRLY (I Really Love You) 02. Simon Kidzoo - 1 Thang 03. Boston Bun - Don't Break My Heart 04. Robert Hood - The Greatest Dancer 05. Sorley - Stuck With You 06. Timmy P - Stripped Back by the Pool 07. K & K - Longbeach 08. Nate Dogg - Gangsta Walk (ALTO EDIT) 09. Whitney Houston - Don't Cry For Me (Mark Knight Remix) 10. BLOND-ISH & Eran Hersh & Madonna - Sorry (with Madonna) feat. Darmon 11. Dombresky - In My Room 12. MK & DOM DOLLA - RHYME DUST [HOT TRACK] 13. Raffaele Ciavolino - Jackin Bossa 14. Saliva Commandos - I Get High! 15. Jake Jaggard - Gimmie A Break! 16. Mene - Champagna (TIPTOES Remix) 17. Mark Knight, Todd Terry, James Hurr feat. Darryl James, David Anthony - Make You Happy 18. Snakehips - Baby I Want You 19. Seb Zito - Let's Go! 20. Matt Guy feat. 666 - The Devil 21. Sam gellaitry - assumptions (jengi Remix)

IN MY ROOM by MARE

I dette afsnit af 'Rockhistorier' dedikerer Henrik Queitsch og Klaus Lynggaard intet mindre end to timer og tyve minutter til 'The Beach Boys'. Vi skal derfor igennem en playliste med hele 30 numre, der blandt andet indeholder ”Surfin' USA”, ”Kiss me baby” og julenummeret ”Little Saint Nick”.Playliste: 1. "Surfin'" (1961) 2. "Surfin' Safari" (1962)3. "Surfin' USA" (1963)4. "Lonely Sea" (1963)5. "Misirlou" (1963)6. "Surfer Girl" (1963)7. "Little Deuce Coupe" (1963)8. "In My Room" (1963)9. "A Young Man Is Gone" (1963)10. "Little Saint Nick" - Single Version (1963)11. "Fun, Fun, Fun" (1964)12. "Don't Worry Baby" (1964)13. "The Warmth of the Sun" (1964)14. "I Get Around" (1964)15. "Girls on the Beach" (1964)16. "All Summer Long" (1964)17. "When I Grow Up (To Be a Man)" (1964)18. "She Knows Me Too Well" (1965)19. "Please Let Me Wonder" (1965)20. "Kiss Me, Baby" (1965)21. "Help Me, Rhonda" (1965)22. "Let Him Run Wild" (1965)23. "California Girls" (1965)24. "Girl Don't Tell Me"  (1965)25. The Little Girl I Once Knew" (1965)26. "Wouldn't It Be Nice" (1966)27. "I Just Wasn't Made for These Times" (1966)28. "God Only Knows" (1966)29. "I Know There's an Answer" (1966)30. "Caroline, No" (1966)

Gene Clarke, a long time volunteer with the Flying Bricks Community Band and a former CCHS and CPS band director, conducts his arrangement of the Beach Boys' "In My Room" July 2 during the Flying Bricks Independence Day Concert in the Thomasville Civic Center.Article Link

Fresh out of NYU's Tisch Graduate Acting Program, she fulfilled her dream of working with both Denzel Washington, as his wife, and Spike Lee, in the hit film, "Inside Man". How?  You may wonder. By being herself.  And she's been on the inside of culture with successful shows as Luke Cage, Atlanta, and The Last O.G., and in films as Chris Rock's "I Think I Love My Wife" and more recently playing Mama Durant (Kevin Durant's mother) in "The Real MVP: The Wanda Durant Story". But she's best known for her current role on the hit show and remake, BEL-AIR as Vivian Banks aka "Aunt Viv" on Peacock. She's a lifelong dreamer and more importantly a manifestor, whose self-proclaimed purpose in life is to help people find their joy. And she's doing just that as she's fiercely reinventing the role of matriarch, a la Clair Huxtable or Aunt Viv 3.0, renewed for the 21st century... coloring her with some extra spice and that West Philly attitude in her own special way.  It is fitting exactly a year after Tori interviewed her own stepmother - Daphne Maxwell Reid (Aunt Viv 2.0) - that she connected her with Aunt Viv 3.0 for a fresh take on the re-imagination of Fresh Prince of Bel Air. Just who is the woman behind our latest "Aunt Viv?" Let's get the Inside track, and we use that word "inside" knowingly, on this powerful, every woman. Get ready for joy. "Here's to Life" welcomes the vivacious, refreshing, and joy-filled talent, who some call "Aunt Viv"... the beautiful Cassandra Freeman.“Who do you want to be? ... But is this who you actually are? If so, fine. But if not, choose differently. You have time.” - Cassandra Freeman as Aunt Viv (to Hilary)This episode on "Here's To Life":•  How she's made the role "Aunt Viv" her own and reinventing the matriarch•  What the show BEL-AIR means to her and their power of storytelling•  How African American Art came to play such a centric role in BEL AIR •  The mother and daughter dynamic in this new age•  Her respect and admiration for the original “Aunt Vivs” Daphne Maxwell Reid and Janet Hubert•  The serendipitous story of how she landed her first film role working with Denzel Washington and Spike Lee •  What her 3 year old is teaching her and how her unique parenting style informs her day-to-day life in the possibilities, potential and probabilities present in all of our lives•  What makes her feel the most alive •  Tori highlights Cassandra's powers and Cassandra returns with a clairvoyant revelation about Tori, and how each one of us has a blessed giftCREDITS:Guest:  Cassandra FreemanHost and Producer:  Tori ReidExecutive Producer:  Patrick A. HowellWriters:  Patrick A. Howell and Tori ReidPost Production:  We Edit PodcastsAdd'l Post Production:  Brian K. Jackson at Maven SoundzPost Production Assistant:  Sydney Rhone Show Intern Affiliation:  Howard University Music Supervision:  Patrick A. HowellVoiceover Artist:  Vïntóry Blake MoorePremier Advertising Sponsor:  Vivreau Water SystemsAdvertising Sponsor:  Hilton Sacramento Arden WestAd Voiceover Artist:  Ginger LevertSocial Media Marketing and Graphics by Octavia JohnsonPhoto credit for Cassandra Freeman:  Emily AssiranVery special thank you to Daphne Maxwell Reid and Team Jill Fritzo PR. Music:Intro and Outro - "Love Hop" by Stereo MixtrumentalCommentaries - "In My Room" by Christophe GormanVivreau Ad Music - "That's What Left Us Behind" by Christian Andersona Victory & Noble production@ 2022 Victory & Noble LLC  All Rights Reserved.Connect with the Guest:Cassandra Freeman on Instagram

Anna Conway was born in 1973 in Durango, Colorado. She received her BFA from the Cooper Union for the Advancement of Science and Art and later received her MFA from Columbia University School of the Arts. Conway is the recipient of two awards from the Pollock-Krasner Foundation (2005 and 2011), the William Metcalf Award from the American Academy of Arts and Letters (2008), and the John Simon Guggenheim Fellowship (2014). Recent solo exhibitions include Anna Conway, Fergus McCaffrey, New York; Anna Conway: Purpose, Collezione Maramotti, Reggio Emilia, Italy; Anna Conway, American Contemporary, New York; and Anna Conway, Guild & Greyshkul, New York. Recent group exhibitions include In My Room, Fralin Museum of Art, Virginia; The Last Brucennial, Bruce High Quality Foundation, New York; Uncharted, University Art Museum, State University of New York, Albany; Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York; and Greater New York, P.S. 1 Contemporary Art Center, Long Island City. She lives and works in New York.

Ok, NOW the end of time is here, FOR REAL, because we're finishing off the first deck of ICP's Joker's Cards with "The Wraith: Hell's Pit"! join us as we discuss the album , plus being exhausted, shortcuts for editing, Eddy Guerrero, our new podcast, Colt Cabana, deathmatch debates, "The Buffalos", late night jokes, being an elf, what makes an ICP album GOOD, Violent J alter boy, Styx, the movie of "Bowling Balls", Lloyd Kaufman's "Direct Your Own Damn Movie!", Chris Rock, Dr. Wigglefarmer, ICP fanfic, Sean's thoughts on "In My Room", mullum_mullum.livejournal.com, & more! Find the Definitive playlist HERE on Spotify! Want to hear more from your favorite Marsh Land Media hosts? Hear exclusive shows, podcasts, and content by heading to Patreon.com/MLMpod! Buy some Shuffling the Deck / MLMpod MERCH, including our "Natty With Otters" shirt, over at redbubble.com/shop/msspod! Follow James @MarshLandMedia on Twitter, @MLMpod on Instagram, and listen to his music under "Marsh Land Monster" wherever music is found! Follow Sean on Twitter @SeanMarciniak and on Twitch @GooseVonKaiser! Join our Discord! Have fan mail, fan art, projects you want us to review, or whatever you want to send us? You can ship directly to us using "James McCollum, PO Box 180036, 2011 W Montrose Ave, Chicago, IL 60618"! Send us a voice mail to be played on the show at (224) 900-7644! Find out more about James' other podcasts "Mostly Speakin' Sentai", "Hit It & Crit It", and "This Movie's Gay" on our website, www.MLMPod.com!!! Plus, download all Marsh Land Monster albums there, too!

Willie Nelson "Bloody Mary Morning"Gillian Welch "Silver Dagger"Mamie Perry And The Gus Jenkins Orchestra "Lament"Golden Smog "Looking Forward to Seeing You"Bill Callahan & Bonnie Prince Billy "OD'd in Denver"Baby Huey & The Baby Sitters "Hard Times"Alberta Hunter "I've Got A Mind To Ramble"Cedric Burnside "Give It To You"Cedric Burnside "The World Can Be So Cold"Cedric Burnside & Lightnin' Malcolm "Stay Here In Your Arms"R.L. Burnside "Snake Drive"Martha & the Vandellas "Nowhere To Run"The B-52's "Rock Lobster"Nina Simone "Be My Husband"Syl Johnson "That's Just My Luck"Johnny "Guitar" Watson "Those Lonely Lonely Nights"The White Stripes "I Just Don't Know What To Do With Myself"Bruce Springsteen "Because the Night"The Clash "I'm So Bored with the U.S.A."The Hold Steady "Stay Positive"The Replacements "Alex Chilton"Victoria Spivey "Dope Head Blues"Etta James "All I Could Do Was Cry"Lucinda Williams "Lake Charles"R.E.M. "At My Most Beautiful"The Beach Boys "In My Room"Eilen Jewell "Down the Road"Memphis Minnie "I Got to Make a Change Blues"Aimee Mann "Give Me Fifteen"Big Maybelle "Please Stay Away from My Sam"George Jones "Imitation Of Love"Laura Lee "Dirty Old Man"Koko Taylor "Tease Your Man"Alejandro Escovedo "Try, Try, Try"Chuck Berry "No Particular Place To Go"Muddy Waters "Long distance Call"Wilco "Walken"Bob Dylan "Honest With Me"Cat Power "It Wasn't God Who Made Honky Tonk Angels"My Morning Jacket "I'm Amazed"The Glands "When I Laugh"Marah "Sooner or Later"Arlo McKinley "Gone for Good"James Cotton "Cut You Loose"Buddy Guy & Junior Wells "Catfish Blues"

Check out In My Room 2! --- Support this podcast: https://podcasters.spotify.com/pod/show/th3lab-podcast/support

Trentemøller - "All Too Soon" from the 2022 album Memoria on In My Room. Danish producer Anders Trentemøller has been making cinematic electronic soundscapes for over 20 years now and is constantly finding new avenues of traversing genre-bending lush landscapes. The latest singles off his forthcoming sixth studio album, Memoria, “In the Gloaming” and our Song of the Day “All Too Soon,” find him employing textured dream pop and the glistening vocals of his girlfriend Lisbet Fritze for a majestic and mysterious mood.  According to Trentemøller's Bandcamp: “‘All Too Soon' examines ostensibly diametric relationships of light and dark, life and death, day and night, love and hate, while actually presenting them as dualistic, and symbiotic, influencing each other as they interrelate. What might appear to be a dispiriting take on our mortality could just as easily be interpreted as its acceptance being liberating.” Memoria follows up 2019's Obverse, which featured Rachel Goswell of Slowdive and Jenny Lee Linberg of Warpaint. Watch the video for “All Too Soon,” directed by Fryd Frydendahl on KEXP.org. Read the full post on KEXP.org Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

Jesse is one of the most influential and enduring singer-songwriters - who first made history with the Youngbloods on their classic ‘60s peace anthem “Get Together”. He will be promoting the release of his forthcoming album "HIGHWAY TROUBADOUR" (Street Date: Nov. 27th / BMG) - a solo re-imagining of his most timeless songs. When COVID-19 ground the world to a halt in 2020, Young launched a new series called "One Song at a Time" — a series of videos that found him performing songs from across his entire career, while accompanying himself on acoustic guitar. The series became a success on platforms like YouTube and Facebook, and earned him an “In My Room” session with Rolling Stone, as well as a featured performance on CNN's - The Fourth In America” alongside students from Little Kids Rock. Collectively, the resulting success led Jesse to go back into the studio and record his newest album, "Highway Troubadour". Recorded with just two AEA A440 ribbon microphones to capture warmth – one for his voice, and one for his guitar – Highway Troubadour features newly-recorded solo performances of songs from Jesse Colin Young's entire catalog, including a revised take on the Youngbloods' “Sugar Babe” and an intimate version of “Cast a Stone” from his critically-acclaimed 2019 release, "Dreamers".

Jesse is one of the most influential and enduring singer-songwriters - who first made history with the Youngbloods on their classic ‘60s peace anthem “Get Together”. He will be promoting the release of his forthcoming album "HIGHWAY TROUBADOUR" (Street Date: Nov. 27th / BMG) - a solo re-imagining of his most timeless songs. When COVID-19 ground the world to a halt in 2020, Young launched a new series called "One Song at a Time" — a series of videos that found him performing songs from across his entire career, while accompanying himself on acoustic guitar. The series became a success on platforms like YouTube and Facebook, and earned him an “In My Room” session with Rolling Stone, as well as a featured performance on CNN's - The Fourth In America” alongside students from Little Kids Rock. Collectively, the resulting success led Jesse to go back into the studio and record his newest album, "Highway Troubadour". Recorded with just two AEA A440 ribbon microphones to capture warmth – one for his voice, and one for his guitar – Highway Troubadour features newly-recorded solo performances of songs from Jesse Colin Young's entire catalog, including a revised take on the Youngbloods' “Sugar Babe” and an intimate version of “Cast a Stone” from his critically-acclaimed 2019 release, "Dreamers".

Episode 32 marks not only the day that Ringo's appreciation for hot dogs got in the way of enlightenment but also our discussion of in-person episodes having too much eye contact, the great beers of Devil's Purse brewery with Devil's Purse brewers Mike and Tim, what it's like recording in a brewery, friendship based on hating the same things, making fun of people who mispronounce the beers of Devil's Purse, Tommy mispronouncing all the beers of Devil's Purse, the Beatles surf rock era, Mike Love as history's greatest villain, Mike Love listening to the Beatles and Donovan hanging while cry singing "In My Room," some great whiskey from listener Seth, the potential for sleeping at a brewery, Beatles flat earthers, the potential for a Paul solo record of all White Album songs, and the experimental McCartney song "Wild Honey Pie."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Guests: Mike and Tim from Devil's Purse Brewery (devilspurse.com; IG: @devilspursebrewing)Additional Musical Supervision: RB (@ryanobrooks)#PeteBestGetThatCheck

In our Pride Special we will be speaking to performer Andy Train about Pop-in-Pride located in Princes Quay and the history of Pride in Hull. Go to their website to keep up to date with future plans and events: www.prideinhull.co.uk We will also be talking to Humber Street Gallery curator David McLeavey about the "In My Room" exhibition at Humber Street featuring work by artists Hannah Quinlan and Rosie Hastings, which will be displayed at the gallery up until the 12th of September. Followed by catching up with writer and performer Kerrie Marsh, about her project "The Rainbow Brick Road" which was commissioned by Absolutely Cultured as a response to the "In My Room" exhibition. Follow Kerrie on twitter at: www.twitter.com/KesLMarsh All of these events are taking place as part of Creative Hull, check out www.absolutelycultured.co.uk for full listings for the weekend's events.

Kilók titkos ledobása, Calixt pápa bulája, banánok Trabantban, minek van még királya, távolkeleti betűtípusok, zúzmók a sírokon, miben más a hegedű a gitárhoz képest, érmék odaütögetése, jobban csúszik-e a banánhéj a jégnél, viccesebb-e a sajtnál a banán, tud-e a tigris tigrisbukfencezni, Lovasi vagy Weöres, kalózok cukisítása, dekoltázs és borravaló, szekrény hátulja, MDF-ből kiszakadó csavar, cég öröklése, fametszés, csírázás hűtőben, Index elhagyásának elősegítése, dínók klónozása, multitávirányítók, fűtésszámla elemzése. Zenék: Indigo Blume - Colours Melting; Down For You Is Up; In My Room. --- Send in a voice message: https://anchor.fm/csunyarosszmajom/message

"The New Poor" get a hard answer to "why is this happening to us?" All this and a ton more on the inaugural episode of "In My Room" with John Henry! The post In My Room S1E1 – The New Poor & More appeared first on John Henry.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at "Don't Worry Baby" by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys' work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're No Good" by the Swinging Blue Jeans. 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/ ----more---- ERRATA: I say that the Surfin' USA album was released only four months after Surfin' Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet's name as if he were French here. I believe that's incorrect and his name is actually pronounced “Vennit”, though I'm not 100% sure. More importantly, I say that "Sweet Little Sixteen" wasn't a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks' autobiography. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys' music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we're going to take our second look at the Beach Boys, and we're going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We're going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We're going to look at “Don't Worry Baby”: [Excerpt: The Beach Boys, "Don't Worry Baby"] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, "Surfin' Safari" backed with "409". Since then we've also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After "Surfin' Safari" was a hit, in one of the many incomprehensible decisions made in the Beach Boys' career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, "Ten Little Indians". That track, a surf-rock version of the nursery rhyme with the group chanting "Kemo sabe" in the backing vocals, made only number forty-nine on the charts, and frankly didn't deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson's father and the group's manager, as a way of weakening Usher's influence with the group, as Murry didn't want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group's next single followed the same pattern as their first hit. The B-side was "Shut Down", a car song co-written by Brian and Roger Christian, who you may remember from the episode on "Surf City" as having been brought in to help Brian with car lyrics. "Shut Down" is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group's lead singer. His two-note saxophone solo comes in for some mockery from the group's fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, "Shut Down"]  "Shut Down" was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry's "Sweet Little Sixteen", and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] He might well also have been thinking of Chubby Checker's minor hit, "Twistin' USA", which listed places in America where people might be twisting: [Excerpt: Chubby Checker, "Twistin' USA"] Brian had taken Berry's melody and the place-name recitation, and with the help of his girlfriend's brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing -- at least, they could "if everybody had an ocean": [Excerpt: The Beach Boys, "Surfin' USA"] "Surfin' USA" became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn't result in a financial windfall for him as the songwriter. As the song was so close to "Sweet Little Sixteen", Chuck Berry got the sole songwriting credit -- one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit -- "Sweet Little Sixteen", while a great record, had never been a particularly big hit, while "Surfin' USA" is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. "Surfin' USA" was the title song of the group's second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year -- Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product -- though Little Deuce Coupe featured four songs recycled from their earlier albums -- but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet's production on the first album. Not only that, but as well as making the Beach Boys' records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a "Loco-Motion" knock-off, "The Revolution", released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, "The Revolution"] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer -- some say it was Betty Everett, but given that that's the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, "Act Naturally"] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, "The One You Can't Have"] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of "Surfin' USA", he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group's tour of the Midwest that Spring, and on many of the shows they performed over the summer -- he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian's parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group's vocal harmonies. And this was a major change. Up to this point, the Beach Boys' records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis' voice was also a little thin at this point, and he was behind the drum kit, which meant he didn't get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on "In My Room". This is one of the first songs on which Jardine took part in the studio, though he's actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. "In My Room" is a major, major, step forward in the group's sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song's lyrics, written by Gary Usher but inspired by Wilson's experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, "In My Room"] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks' fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David's mother, which hadn't worked out well for him.  But then on Marks' fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out -- as he had to, as he needed to pay their doctor's bills -- he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn't need those Wilsons, and as a fifteen-year-old kid he didn't have the understanding to realise that this might not be entirely true. He said "OK, I quit". At first, the rest of the group thought that he was joking, and even he wasn't at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they'd all heard him, and refused to speak directly to him -- anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay -- especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who'd lobbied to bring his friend into the group in the first place -- David was still, as the youngest member, the only one who didn't sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song "Kustom Kar Show", Brian told David that he wasn't ready to be writing songs for the group.  All this, plus pressure from David's parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, "Kustom Kar Show"] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn't co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it's quite obvious why they weren't played -- they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time -- some of Marks' flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years -- Murry Wilson didn't want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn't let up. Brian's songwriting was progressing at a furious pace, and that can be seen nowhere better than on "The Warmth of the Sun", a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination -- the two men have differed over the years over whether it was written the night before or the night after the assassination. "The Warmth of the Sun" is quite staggeringly harmonically sophisticated. We've talked before in this podcast about the standard doo-wop progression -- the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] "The Warmth of the Sun" starts out that way -- its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You'd expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G -- and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, "The Warmth of the Sun"] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time -- it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian's other big influences. "Fun Fun Fun" had lyrics by Mike Love -- some of his wittiest -- and starts out with an intro taken straight from "Johnny B. Goode": [Excerpt: The Beach Boys, "Fun Fun Fun"] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to "Da Doo Ron Ron". Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that "Da Doo Ron Ron"'s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, "Fun Fun Fun"] That became the group's fourth top ten hit, and made number five on the charts -- but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band -- Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards -- but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn't guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, "I Get Around (backing track)"] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father's interference, and fired him as the band's manager. Murry would continue to keep trying to interfere in his children's career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, "I Get Around"] It's fascinating to see that even this early in the group's career, and on one of their biggest, summeriest hits, there's already a tension in the lyrics, a sense of wanting to move on -- "I'm getting bugged driving up and down the same old strip/I've got to find a new place where the kids are hip". The lyrics are Love's, but as is so often the case with Brian Wilson's collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and "I Get Around" was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. "I Get Around" is a worthy classic, but the B-side, "Don't Worry Baby", is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by "Be My Baby", which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, "Be My Baby"] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line "Be my little baby", and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, "Don't Worry Baby"] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing -- Ronnie Spector recorded a solo version of it many decades later, and it's a fine performance, but the lyric misses something when it's sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings "I guess I should have kept my mouth shut when I started to brag about my car,  but I can't back down now because I pushed the other guys too far", and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in "Dead Man's Curve", or “Tell Laura I Love Her”, or in another teen tragedy song we'll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist's fears are allayed by his girlfriend: [Excerpt: The Beach Boys, "Don't Worry Baby"] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can't cope with. He's saved by a figure we'll see a lot more of in Brian's songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she's too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic -- the idea that the man is unable to deal with his own emotional problems without a woman fixing him -- but there's an emotional truth to it that one doesn't get in much music of the era, and even if it's a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it's paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. "Don't Worry Baby", released as "I Get Around”'s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of "Don't Worry Baby": [Excerpt: The Beach Boys, "She Knows Me Too Well"] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon's work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector's production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Campbell got given that track because of an enormous favour he'd done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he'd had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he'd managed to get through that night's show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys' recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We'll take a look at the results in a few weeks' time.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. 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/ —-more—- ERRATA: I say that the Surfin’ USA album was released only four months after Surfin’ Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet’s name as if he were French here. I believe that’s incorrect and his name is actually pronounced “Vennit”, though I’m not 100% sure. More importantly, I say that “Sweet Little Sixteen” wasn’t a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks’ autobiography. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys’ music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we’re going to take our second look at the Beach Boys, and we’re going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We’re going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We’re going to look at “Don’t Worry Baby”: [Excerpt: The Beach Boys, “Don’t Worry Baby”] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, “Surfin’ Safari” backed with “409”. Since then we’ve also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After “Surfin’ Safari” was a hit, in one of the many incomprehensible decisions made in the Beach Boys’ career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, “Ten Little Indians”. That track, a surf-rock version of the nursery rhyme with the group chanting “Kemo sabe” in the backing vocals, made only number forty-nine on the charts, and frankly didn’t deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson’s father and the group’s manager, as a way of weakening Usher’s influence with the group, as Murry didn’t want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group’s next single followed the same pattern as their first hit. The B-side was “Shut Down”, a car song co-written by Brian and Roger Christian, who you may remember from the episode on “Surf City” as having been brought in to help Brian with car lyrics. “Shut Down” is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group’s lead singer. His two-note saxophone solo comes in for some mockery from the group’s fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, “Shut Down”]  “Shut Down” was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry’s “Sweet Little Sixteen”, and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] He might well also have been thinking of Chubby Checker’s minor hit, “Twistin’ USA”, which listed places in America where people might be twisting: [Excerpt: Chubby Checker, “Twistin’ USA”] Brian had taken Berry’s melody and the place-name recitation, and with the help of his girlfriend’s brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing — at least, they could “if everybody had an ocean”: [Excerpt: The Beach Boys, “Surfin’ USA”] “Surfin’ USA” became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn’t result in a financial windfall for him as the songwriter. As the song was so close to “Sweet Little Sixteen”, Chuck Berry got the sole songwriting credit — one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit — “Sweet Little Sixteen”, while a great record, had never been a particularly big hit, while “Surfin’ USA” is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. “Surfin’ USA” was the title song of the group’s second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year — Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product — though Little Deuce Coupe featured four songs recycled from their earlier albums — but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet’s production on the first album. Not only that, but as well as making the Beach Boys’ records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a “Loco-Motion” knock-off, “The Revolution”, released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, “The Revolution”] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer — some say it was Betty Everett, but given that that’s the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, “Act Naturally”] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, “The One You Can’t Have”] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of “Surfin’ USA”, he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group’s tour of the Midwest that Spring, and on many of the shows they performed over the summer — he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian’s parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group’s vocal harmonies. And this was a major change. Up to this point, the Beach Boys’ records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis’ voice was also a little thin at this point, and he was behind the drum kit, which meant he didn’t get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on “In My Room”. This is one of the first songs on which Jardine took part in the studio, though he’s actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. “In My Room” is a major, major, step forward in the group’s sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song’s lyrics, written by Gary Usher but inspired by Wilson’s experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, “In My Room”] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks’ fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David’s mother, which hadn’t worked out well for him.  But then on Marks’ fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out — as he had to, as he needed to pay their doctor’s bills — he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn’t need those Wilsons, and as a fifteen-year-old kid he didn’t have the understanding to realise that this might not be entirely true. He said “OK, I quit”. At first, the rest of the group thought that he was joking, and even he wasn’t at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they’d all heard him, and refused to speak directly to him — anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay — especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who’d lobbied to bring his friend into the group in the first place — David was still, as the youngest member, the only one who didn’t sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song “Kustom Kar Show”, Brian told David that he wasn’t ready to be writing songs for the group.  All this, plus pressure from David’s parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, “Kustom Kar Show”] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn’t co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it’s quite obvious why they weren’t played — they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time — some of Marks’ flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years — Murry Wilson didn’t want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn’t let up. Brian’s songwriting was progressing at a furious pace, and that can be seen nowhere better than on “The Warmth of the Sun”, a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination — the two men have differed over the years over whether it was written the night before or the night after the assassination. “The Warmth of the Sun” is quite staggeringly harmonically sophisticated. We’ve talked before in this podcast about the standard doo-wop progression — the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] “The Warmth of the Sun” starts out that way — its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You’d expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G — and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, “The Warmth of the Sun”] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time — it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian’s other big influences. “Fun Fun Fun” had lyrics by Mike Love — some of his wittiest — and starts out with an intro taken straight from “Johnny B. Goode”: [Excerpt: The Beach Boys, “Fun Fun Fun”] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to “Da Doo Ron Ron”. Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that “Da Doo Ron Ron”‘s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, “Fun Fun Fun”] That became the group’s fourth top ten hit, and made number five on the charts — but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band — Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards — but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn’t guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, “I Get Around (backing track)”] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father’s interference, and fired him as the band’s manager. Murry would continue to keep trying to interfere in his children’s career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, “I Get Around”] It’s fascinating to see that even this early in the group’s career, and on one of their biggest, summeriest hits, there’s already a tension in the lyrics, a sense of wanting to move on — “I’m getting bugged driving up and down the same old strip/I’ve got to find a new place where the kids are hip”. The lyrics are Love’s, but as is so often the case with Brian Wilson’s collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and “I Get Around” was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. “I Get Around” is a worthy classic, but the B-side, “Don’t Worry Baby”, is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by “Be My Baby”, which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, “Be My Baby”] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line “Be my little baby”, and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, “Don’t Worry Baby”] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing — Ronnie Spector recorded a solo version of it many decades later, and it’s a fine performance, but the lyric misses something when it’s sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings “I guess I should have kept my mouth shut when I started to brag about my car,  but I can’t back down now because I pushed the other guys too far”, and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in “Dead Man’s Curve”, or “Tell Laura I Love Her”, or in another teen tragedy song we’ll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist’s fears are allayed by his girlfriend: [Excerpt: The Beach Boys, “Don’t Worry Baby”] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can’t cope with. He’s saved by a figure we’ll see a lot more of in Brian’s songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she’s too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic — the idea that the man is unable to deal with his own emotional problems without a woman fixing him — but there’s an emotional truth to it that one doesn’t get in much music of the era, and even if it’s a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it’s paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. “Don’t Worry Baby”, released as “I Get Around”’s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of “Don’t Worry Baby”: [Excerpt: The Beach Boys, “She Knows Me Too Well”] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon’s work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector’s production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, “Guess I’m Dumb”] Campbell got given that track because of an enormous favour he’d done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he’d had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he’d managed to get through that night’s show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys’ recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We’ll take a look at the results in a few weeks’ time.

This week, we celebrate the newest record by Charleston's hellion harmonizers Shovels & Rope, with a new conversation with the married co-leads Michael Trent and Cary Ann Hearst. You'd be hard-pressed to find two harder-working singer-songwriters than this prolific duo; and that was before they got together to record their honey-voiced self-titled first album over a decade ago. Thinking it was just a sonic souvenir before they split off again to pursue their barnstorming bar-band solo careers, the human heart and some encouraging listeners had other plans, convincing them to keep creating as a team. They've been off to the races ever since - making five acclaimed records of originals starting with the acclaimed O' Be Joyful and three gritty covers albums with an assassins row of collaborators like Lucius, Shakey Graves, Brandi Carlile, The War and Treaty, and more. Their newest cover project Busted Jukebox Volume 3, which dropped on Feb 5 via Dualtone Records, is a new experiment. You could say it's an angsty rock record for kids, or maybe it's an homage to the yearning, defiant, ever-hopeful teenager in all of us. With indie-darlings like Sharon Van Etten sitting in on standouts like the Beach Boys' “In My Room” and Deer Tick joining a rollicking version of the Janis Joplin favorite “Cry Baby” - like a good Pixar animated flick, this collection has just as much to offer Mom and Dad as it does for the kiddos. If you've seen them live, you'll notice that Trent and Hearst often face each other, not the audience; their eyes never seem to leave each other. Almost all their songs, like the award-winning favorite “Birmingham,” include spot-on harmony and intensely-focused unison singing. Somehow they create a blisteringly big sound despite always remaining a duo. Even on the biggest stages, from Red Rocks to their own acclaimed festival High Water Fest (set in their longtime South Carolina home base), they stick to their simple but potent formula. Switching back and forth between jangly and crunchy guitars, humming keyboards and pounding piano, hopping from sweat-strewn stripped-down drum kits to aching accordions, their joyous garage-rock Americana keeps gaining them new fans worldwide. If you're stuck at home and have kids running rowdily through your house like Michael and Cary Ann do, (this taping had to be rescheduled three times), maybe try turning on Busted Jukebox Volume 3 nice and loud and see what little ones think. Or just put them to bed and rock out yourself! Stick around to the end of the episode to Hearst and Trent present the sweet campfire jam “My Little Buckaroo” featuring M. Ward.

Привет! Разыгрываем подарочную карту App Store и iTunes на 1000 рублей!Для участия в конкурсе нужно:1) Поставить лайк посту в группе вк «Мегабайт»;2) Перейти на страницу In My Room в подкастах Apple: https://vk.cc/atBQbO;3) В отзывах оставить комментарий с названием своей любимой песни про любовь

Canciones para que nos gusten los lunes. Entre la pasión y la magia. Dos corazones que se encuentran, dos canciones. Una llamada que no llega. Dos mensajes, un solo billete de ida. El tiempo vuela, el mundo se acelera a nuestro alrededor y hacemos lo que podemos. La guitarra de Lee Ritenour o el bajo de Stanley Clarke en sus tiempos más funk. El dúo Eye To Eye, entre Steely Dan y The Police. Patti Austin cantando a Thomas Dolby. El sempiterno, inagotable Van Morrison. La olvidada Evie Sands… Anaheim, el grupo. DISCO 0 BRIAN WILSON One For The Boys (6) DISCO 1 CLAIRE HAMMILL Stars (Summer) (Cara 1 Corte último) DISCO 2 ANDREW GOLD Party Hearty (6) DISCO 3 THE ROCHES Big Nothing (1) DISCO 4 JAMES TAYLOR Traffic Jam (11) DISCO 5 THE OZARK MOUNTAIN DAREDEVILS Fly Away Home (1) DISCO 6 TRIO (EMMYLOU, DOLLY & LINDA) The Pain Of Loving You (1) DISCO 7 CHRIS HILLMAN (Take Me in Your) Lifeboat (10) DISCO 8 TIMOTHY B. SCHMIT So Much In Love (3) DISCO 9 SIMON & GARFUNKEL Mrs. Robinson (1) DISCO 10 THE SECRET SISTERS Kathy’s Song (5) DISCO 11 CROSBY STILLS & NASH See The Changes (2) DISCO 12 THE MANHATTAN TRANSFER Another Night In Tunisia (Cara 2 - Corte 1) DISCO 13 GEORGE MARTIN ROBIN WILLIAMS & BOBBY McFERRIN Come Together (1) DISCO 14 HYPERPOTAMUS Sunshine Juice (4) DISCO 15 JACOB COLLIER In My Room (2) Escuchar audio

North London-bred artist Mae Muller has an outrageous talent for spinning her messiest emotions into wildly catchy pop songs. On the strength of her outspoken yet sensitive songwriting, she’s found incredible success with irresistibly candid tracks like “Therapist” (an early-2020 release that landed on over 45 Spotify playlists, as well as Apple Music’s A-List Pop, In My Room, Future Hits, and more).

Together with American Songwriter, we had the pleasure of interviewing Mae Muller over Zoom video!North London singer/songwriter Mae Muller recently released the video for her new single “dependent.” Directed by Sophia Ray (Lily Allen,Ty Dolla $ign, Amber Mark) the video details the conundrums of falling in love.Speaking about the video, Mae said “This is one of my favourite videos I’ve ever done, and I loved collaborating with the super talented Sophia Ray and the team that brought the concept of the song to life. The looks, the dancers, everything is ON POINT! I really wanted to do this song justice with a stunning video and feel like we’ve really achieved that.” The addictive opening track to Mae’s debut EP no one else, not even you, “dependent” offers a rarely-glimpsed look at the tension between the thrill of new love and the fear of losing your sense of self. Out now via Capitol Records, the eight-track EP showcases the fearlessly honest yet irresistibly fun songwriting that’s hailed Mae as “a clear pop sensation in the making” by Wonderland and the “new queen” by NYLON.“I wrote that song at the start of a relationship, when I could feel myself falling in love and got really scared,” says Mae, who co-wrote “dependent” with Henrik Michelsen of the Norwegian duo Electric. “That’s what always happens when I start to fall for someone: instead of going with the flow and just enjoying myself, I start to panic a bit because of the power you have to give up. This song is me being totally honest about not wanting to become dependent on someone, because my independence is so important to me.”Made with producers/co-writers like Rick Nowels (Madonna, Lana Del Rey), Jimmy Napes (Sam Smith, Alicia Keys), Skyler Stonestreet (Ariana Grande, Dua Lipa), and Kenny Beats (FKA twigs, Ed Sheeran), no one else, not even you brings Mae’s raw vulnerability to an immaculately composed but unpredictable brand of pop music. In a nod to the newfound self-confidence she felt in creating the EP, its title serves as an adamant refusal to let anyone undermine her artistry. “I’ve had a lot of people make comments like, ‘Your exes must hate you,’ or sometimes an ex will reach out and tell me, ‘I know this song’s about me,’” says Mae. “But all my songs are my story — they’re my way of expressing who I am and how I feel, and no one else can take credit for them.”Along with “dependent,” no one else, not even you features Mae’s previously released singles “HFBD” and “so annoying.” To date, the 23-year-old artist has amassed over 100 million streams globally, with her songs featured on Spotify’s New Music Friday and Apple Music’s A-List Pop, In My Room, Future Hits, and more. She’s also stormed her way through the live world, selling out a 2020 headline tour of the U.K. and earning an adoring worldwide following who’ve come to rely on her uncompromising self-expression.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

Rock n Roll Hall of Fame Inductee! Happy Holiday's, Merry Christmas!! Featured in the Academy Award Winning Documentary "20 Feet from Stardom", Darlene Has done a LOT #1 Hit Make, Actress on Stage & in Motion Picture Blockbusters like the "Lethal Weapon" Movies Rolling Stone Magazine has proclaimed Darlene Love to be “one of the greatest singers of all time” and that certainly rings true, but perhaps Paul Shaffer says it even more concisely: “Darlene Love is Rock N’ Roll!” From her first number #1 Hit,"He's A Rebel", through her string of label hits with legendary producer Phil Spector, including "Da Doo Ron Ron", "He's Sure The Boy I Love & "Christmas Baby Please Come Home" a classic she sangs every Christmas season on the "Late Show with David Letterman (it is David's favorite). Darlene on Lead Vocals #1 Hit ~ "He's a Rebel" ~ The Crystals #10 Hit ~ "He's Sure the Boy I Love" ~ The Crystals Darlene solo ~ "Christmas (Baby Please Come Home)" In December 2010, Rolling Stone Magazine ranked "Christmas (Baby Please Come Home)" first on its list of The Greatest Rock and Roll Christmas Song, saying that "nobody can match Love's emotion and sheer vocal power." Several of the classic hit song's she sings backup on: Sam Cooke's ~ "Chain Gang", Bobby "Boris" Pickett ~ "The Monster Mash" "(You're My) Soul and Inspiration" ~ The Righteous Brothers "Walking In The Rain" ~ The Ronettes The Beach Boys ~ "In My Room" "Poor Side of Town" ~ Johnny Rivers "Rock and Roll Lullaby" ~ B.J. Thomas "Let Us Pray" ~ Elvis Presley "Get It Right" ~ Luther Vandross And many other top 10 hits of the Rock n Roll Era. Her voice is on countless songs she sang backup on for artists like Sam Cooke, Elvis Presley, Dionne Warwick, Cher, Luther Vandross and Aretha Franklin. One of Darlene's biggest fans is "The "Boss" Bruce Springsteen. She has proven herself a talented actress as well, on stage and screen, starring as Danny Glover's wife in all of the LETHAL WEAPON films and lighting-up Broadway in such musicals as GREASE and the Tony-award nominated LEADER OF THE PACK. Darlene also starred for three years on Broadway as ‘Motormouth Maybelle’ in the Tony Award winning musical HAIRSPRAY. Darlene Love was just a high school sophomore in Los Angeles when she was discovered out of a gospel choir, and asked to join a burgeoning girl group called The Blossoms, who began recording for Phil Specter. Soon thereafter, other artists like Sam Cooke were attracted to her powerful sound, and sought Darlene on their recordings. With The Blossoms and Bob B. Soxx and the Blue Jeans, Darlene sang lead vocals on some of the greatest music hits of the 60's. The Blossoms landed a weekly spot on the landmark television series SHINDIG & Elvis's 1968 Comeback Special and through the 60's and 70's, Darlene continued to perform with and back-up such diverse artists as The Beach Boys, The Mamas & The Papas, Tom Jones, The Righteous Brothers and Sonny & Cher. She has received great national press exposure, including a feature in PEOPLE magazine, a CNN television documentary on her life, and bookings on numerous national television programs, including NBC-TV's TODAY, Wendy Williams, CW and Oprah as her yearly stint on the David Letterman show which she has done 26 years strong. Darlene’s first studio Christmas album, “It’s Christmas, Of Course” was released December 2007 to national critical praise. In 2010 Darlene began a tour of Australia starring as ‘Miss Sherman’ in “Fame: The Musical”. Darlene has also released a CD and DVD of her live concert ”The Concert of Love” produced and released by Reel Good Productions. Her albums include AGE OF MIRACLES, recorded live in New York City and her first gospel album, UNCONDITIONAL LOVE released by Harmony records. A feature film based on Darlene’s autobiography “My Name Is Love” is in the works Along with more great new music for released in 2021. © 2020 All Rights Reserved © 2020 Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Spot Me on Spotify & Amazon

We sat down with returning guests Jeannette-Marie Lewis and Michael Stern to discuss the works of Jacob Collier. According to Wikipedia: Jacob Collier (/ˈkɒliər/[3] born 2 August 1994) is an English musician. His music incorporates elements from many musical genres, and often features extreme use of reharmonisation. In 2012, his split-screen video covers of popular songs, such as Stevie Wonder's "Don't You Worry 'bout a Thing", began to go viral on YouTube. In 2014, Collier signed to Quincy Jones' management company and began working on his one-man, audio-visual live performance vehicle, designed and built at the Massachusetts Institute of Technology.[4] In 2016, Collier released his debut album, In My Room, which he recorded, arranged, performed and produced himself in the small back room of his family home in Finchley, north London.[5] In 2017, Collier was awarded Grammy Awards for his arrangements of "Flintstones" and "You And I".[6] In 2018, Collier began working on Djesse, a four-volume, 50-song album featuring more than two dozen artists and ensembles. The first volume, which features the Metropole Orkest, Djesse Vol. 1, was released in December 2018. The second, Djesse Vol. 2, uses more acoustic instrumentation, and was released in July 2019. In 2020, Collier won Grammy Awards for his arrangements of "All Night Long" from Djesse Vol. 1 and "Moon River" from Djesse Vol. 2, respectively. The third volume, Djesse Vol. 3, which Collier describes as being based in electronic sounds, was released on 14 August 2020.[7] --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicspeaks-podcast/support

Upward and Onward Productions Presents “Our Meeting at the Crossroads” music series.  “Old Friends Having Whiskey”, with our Host Darren Lorenzo. Now this particular episode touches on, old friendship, memories and revelations over drinks. Ruben Anthony was born on the Beautiful Caribbean Island of Curaçao and started singing and dancing when he was 7 years old. At 18 Ruben moved to Amsterdam Holland's where he was accepted to the Theater School. After school Ruben played several lead roles in European musicals like Fame, Carmen Cubana, The  musical Hair, Daddy Cool and the list continues. He even toured with Enrique Iglesias.Ruben recorded his first album Exceptional, which was released in 2006. The single Be My Lady hit the charts at no.5 in Austria. He executive produced his next two albums In My Room, Take It All and went on to write two songs for the musical Carmen Cubana.In 2019 Ruben was part of Team Anouk in the Voice of Holland. After the show Ruben started a crowdfunding campaign for his new project Blue Light Frequency, which was inspired by Ruben's travels around the world and the people he met along the way. He started production on the project in Amsterdam along side producer Dutchflower. The first single "Always on my Mind" reached over 400.000 streams on Spotify. Ruben currently lives in Almere, Holland, which is about 30 min from Amsterdam. “After Talk” Host, Director and Creator - Darren LorenzoCo host, Sound Editor, Sound Mixer - Bruno Diaz 

Here's our review of Mati Diop's recent short 'In My Room'. A smashing gem for our times. Tune in.

Writer and director Channing Godfrey Peoples joins Anna for an eye-opening discussion about her new film, Miss Juneteenth. In UK cinemas from 25th September 2020, this movie is a warm and intimate portrait of former pageant winner Turquoise Jones (Nicole Beharie), as she prepares her daughter, Kai (Alexis Chikaeze), for the annual Miss Juneteenth pageant and navigates her life within the close-knit Black community of Fort Worth, Texas. Channing reveals the personal inspiration behind her story, explains the role that the arts can play in the Black Lives Matter movement, and hints at what she is working on next. Next, Anna welcomes fellow critic Corrina Antrobus back to the show to review the film. They talk about Nicole’s remarkable performance, the nuanced relationships presented onscreen, and the significance of a 'dream deferred'. This jam-packed show also includes fantastic film recommendations. Channing provides a detailed watchlist: Killer Of Sheep and My Brother’s Wedding by Charles Burnett, Daughters of the Dust (dir. Julie Dash), Eve’s Bayou (dir. Kasi Lemmons), Beyond The Lights (dir. Gina Prince-Bythewood), and Rachel Getting Married (dir. Jonathan Demme). And Corrina suggests Rocks (dir. Sarah Gavron), Babyteeth (dir. Shannon Murphy), Make Up (dir. Claire Oakley), and In My Room (dir. Mati Diop). This episode is in partnership with Vertigo Releasing. www.vertigoreleasing.com/portfolio/miss-juneteenth/ Become a patron of Girls on Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI’s YouTube channel: https://www.youtube.com/playlist?list=PLXvkgGofjDzj5mCFL89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Executive producer: Hedda Archbold. Producer: Jane Long. Principal Partner: Peter Brewer. Assistant Producer and Social Media Manager: Heather Dempsey. Intern: Elliana Jay.

Ведущий In My Room Андрей Осипов утверждает, что этот выпуск – самый лучший. Как проверить его слова? Ну, разве что послушать.Самое уютное музыкальное шоу выходит каждое воскресенье.

Mailbag episode! Kirk tackles your questions on subjects ranging from a Warren Zevon piano part, to the unfortunate prevalence of bad acoustics at live shows, to why Moana is such a good movie. It's been a rough week; thanks everyone who wrote in. DISCUSSED ON THIS EPISODE: “Flaming” by Pink Floyd from The Piper at the Gates of Dawn, 1967 “Golden Brown” by the Stranglers, 1981 “Woke Up Today” and “In My Room” by Jacob Collier from In My Room, 2016 “Reckless” by Nate Wood/Four from X.it, 2019 “Stranger Things” by Kyle Dizon and Michael Stein “Succession” by Nicholas Britell “Hillbilly Hare” by Carl Stalling Audio from Hot Fuzz, 2007 “The End of the Tour” by They Might Be Giants from John Henry, 1994 “Dancing Queen” by ABBA from Arrival, 1976 “All Summer Long” by Kid Rock from Rock N Roll Jesus, 2007 “Sweet Home Alabama” by Lynyrd Skynyrd from Second Helping, 1973 “Werewolves of London” by Warren Zevon from Excitable Boy, 1978 The excellent documentary Twenty Feet From Stardom “Gimme Shelter” by the Rolling Stones feat. Merry Clayton from Let It Bleed, 1969 “You Know How We Do It” by Ice Cube from Lethal Injection, 1993 “Nuthin’ but a G thang” by Dr. Dre feat. Snoop Dogg from The Chronic, 1992 “Windows 95 Login” by Brian Eno, 1995 “All Things Considered” by Don Voegeli, arr. Wycliffe Gordon “Good Night Until Tomorrow” by Nobuo Uematsu from Final Fantasy VII, 1997 “Fingertips” by They Might Be Giants from Apollo 18, 1992 "Honey Jar" by The Wood Brothers from Live at the Barn, 2017 “I Am Moana” and “How Far I’ll Go” by Lin Manuel Miranda feat. Auliʻi Cravalho from Moana, 2016 Correction 9/16: A listener pointed out that I failed to mention the explicit "Sweet Home Alabama" reference that comes a bit later in "All Summer Long." I added a mention of it to the episode. - KH OUTRO SOLOIST: Kirk Hamilton Kirk is the host of Strong Songs. He lives in Portland, Oregon, a charming, smoke-filled city where no one can go outside because the air is poison. He used to play shows around the Pacific Northwest, but since live music can no longer safely exist, he mostly sits at home sipping coffee by the air purifier, thinking "This is fine." KEEP IT SOCIAL You can follow Strong Songs on Twitter @StrongSongs: http://twitter.com/strongsongs And you can find Kirk on Twitter @Kirkhamilton and on Instagram at @Kirk_Hamilton: https://www.instagram.com/kirk_hamilton/ NEWSLETTER/MAILING LIST Sign up for Kirk's mailing list to start getting monthly-ish newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://kirkhamilton.substack.com/subscribe STRONG PLAYLISTS Kirk has condensed his Strong Songs picks into a single new list, which you can find on Spotify, Apple Music, and thanks to listener L.B., it's now on Google Play. SUPPORT STRONG SONGS ON PATREON! Thank you to all of Strong Songs's Patreon backers - all 1,000 plus of you! You are incredible, and you're making it possible for this show to exist. For more information on how support Strong Songs, go here: https://Patreon.com/StrongSongs SEPTEMBER 2020 WHOLE-NOTE PATRONS Rick Klaras Laurie Acreman Ken Hirsh Jez Jenness Gardner Simon Cammell Guinevere Boostrom Jill Smith-Moore Rachel Rakov Narelle Horn Mickey Clark Nathaniel Bauernfeind Simon Cramp Bill Rosinger Anne Britt David Zahm Erin Aidan Coughlan Jeanneret Manning Family Four Matt Butler Doug Paton Robert Paul R Watson Viki Dun Christer Lindqvist Sami Samhuri Craig J Covell AccessViolation Ryan Torvik Merlin Mann Glenn CALEB ROTACH Andre Bremer Chad Barnard Mark Schechter Dave Florey Dan Apczynski SEPTEMBER 2020 HALF-NOTE PATRONS Jeffrey C. Yarnell David Friedman Phillip Dalton Christopher Cudnoski Mark Edwards Randall Browning Sarah Sulan Diane Hughes Matt Beams Niko Kenneth Tiong Jo Sutherland David Catlett Michael York Derek Bender Melanie Andrich Franco Famularo Don Hutchison Lowell Meyer Etele Illes Jeff Almond Stephen Tsoneff Lorenz Schwarz Becca Sample Wen Jack Sjogren Aparajit Raghavan Benedict Pennington Geoff Golden Robyn Fraser Alexander Geddes Pascal Rueger Randy Souza Joe C Latifah Makuyi Clare HOLBERTON Jake Tinsley Georgia Livesay David Zucker Diane Turner Tom Coleman SUELLEN MOORE Judy Chapple Stuart Terry Mark Perry Malory Dhu Wik Eric Helm Jake Roberts Briony Leo Bill Fuller Jonathan Daniels Sheilah Steven Maron MH Michael Flaherty Jarrod Schindler Zoe Little Gerry Nelson Albukitty Caro Field Wayne Marsh Judith Stansfield Jenifer Carr michael bochner Duncan brant brantphillip Leigh Sales Markus Koester Alexander Jeremy Dawson Gavin Doig Sam Fenn Tanner Morton AJ Schuster Jennifer Bush David Stroud Amanda Furlotti Andrew Baker Brooke Wilford Cyrus N. White Chris Brown Mark Haberlen Juan Carlos Montemayor Elosua Kate Albury Matt Gaskell Elliot Jay O'Neill Jules Bailey Eero Wahlstedt Darryl Stewart Bill Thornton Brian Amoebas Brett Douville Jeffrey Olson Matt Betzel Mueller Nate from Kalamazoo Melanie Stivers Richard Toller Alexander Polson John and Sharon Stenglein Tom Lauer Forrest Chang Earl Lozada Jon O’Keefe Justin McElroy Arjun Sharma Shane DeLeon James Johnson Andrew Lee Kevin Morrell Tom Clewer Kevin Pennyfeather Nicholas Schechter Justin Liew Emily Williams

On this show.Up for review is Mulan, Bill and Ted Face the Music, The Roads Not Taken, The King of Staten Island, The Man Who Killed Don Quixote, Widows Point, Reisiatnce, Koko Di Koko Da, The Babysitter Killer Queen, Cuties, In My Room, Strasberg 1518 and The Devil All the Time.We Also have some movie news and a special chart

Herzlich Willkommen bei FOTOGRAFIE TUT GUT! Lass uns über die Achtsamkeit und das positive Denken in der Welt der Fotografie sprechen; und über die Achtsamkeit und das positive Denken DURCH die Fotografie. Es ist nicht wichtig, ob Du einfach gern mal einen Schnappschuss machst, Hobbyfotograf oder Profi bist, das hier ist für Dich! Wir blicken gemeinsam über den Tellerrand auf andere Genre, Fotografen und die positiven Auswirkungen der Fotografie auf unser Leben. Schön, dass Du da bist, ich freue mich auf Dich! Heute beschäftige ich mich mit der spannenden Frage nach Deiner und meiner fotografischen Identität. Sie geht ein bisschen tiefer als der allgemein so oft gesuchte Stil. Dennoch ist sie leichter zu finden! Denn sie fragt nicht nach Followern, Modeerscheinungen und Marketing. Sie fragt nur nach Dir!

After years of security cooperation, Israel and the United Arab Emirates have signed a peace deal which sees Israel suspend it’s plans to annex parts of the West Bank. Former Israeli Foreign Minister Tzipi Livni joins Christiane Amanpour to discuss the historic agreement. Then, for the past 17 years South Carolina has been a Republican stronghold, and the home state of Republican Senator Lindsey Graham. Jamie Harrison is the first African American Chair of the South Carolina Democratic Party, and is standing toe to toe with Graham this year. He speaks to Christiane about the presidential race and his ambitions to forge a “new South”. The coronavirus pandemic has had a devastating effect on American sport and is now threatening the upcoming college football season. Our Hari Sreenivasan speaks to sportswriter Dave Zirin and retired NFL defensive end Michael Bennett, about their book “Things That Makes White People Uncomfortable” and how the Black Lives Matter movement has been empowering athletes both on and off the field. And musician Jacob Collier exploded onto the music scenes in 2016 with his album “In My Room”, recorded almost single-handedly in his bedroom. Much of his latest album, “Djesse Vol.3” was recorded from his home during lockdown and he reflects on finding inspiration in isolation.To learn more about how CNN protects listener privacy, visit cnn.com/privacy

Welcome to Saturday!  Start your day with Track 3, In My Room.  Enjoy!

This week on the Culture Gabfest, Stephen Metcalf, Dana Stevens, and Julia Turner discuss the Hulu adaption of Sally Rooney’s Normal People. Next, they talk about John Krasinski’s Some Good News. Finally, the panel dives into Dana’s comfort watch for this week: In a Lonely Place. On the Slate Plus segment this week, the panel is joined by Jody Rosen to talk about the music and legacy of Little Richard. Sign up for Slate Plus at Slate.com/cultureplus Podcast production by Cameron Drews. Production assistance by Rachael Allen. Endorsements: Dana: Spike Lee’s short film about New York City. Julia: The Donut Hole in La Puente, Calif., a trip inspired after reading “Drive-throughs and drive-ins were fading. Coronavirus made them a lifeline” by Carolina A. Miranda in the Los Angeles Times. Steve: Nick Lowe performing “(What’s So Funny ‘Bout) Peace, Love, and Understanding” as part of Rolling Stone’s “In My Room” series. Also, Nick Lowe’s “I Read A Lot.” Plus, check out Madison Cunningham’s “Dry As Sand.” Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the Culture Gabfest, Stephen Metcalf, Dana Stevens, and Julia Turner discuss the Hulu adaption of Sally Rooney’s Normal People. Next, they talk about John Krasinski’s Some Good News. Finally, the panel dives into Dana’s comfort watch for this week: In a Lonely Place. On the Slate Plus segment this week, the panel is joined by Jody Rosen to talk about the music and legacy of Little Richard. Sign up for Slate Plus at Slate.com/cultureplus Podcast production by Cameron Drews. Production assistance by Rachael Allen. Endorsements: Dana: Spike Lee’s short film about New York City. Julia: The Donut Hole in La Puente, Calif., a trip inspired after reading “Drive-throughs and drive-ins were fading. Coronavirus made them a lifeline” by Carolina A. Miranda in the Los Angeles Times. Steve: Nick Lowe performing “(What’s So Funny ‘Bout) Peace, Love, and Understanding” as part of Rolling Stone’s “In My Room” series. Also, Nick Lowe’s “I Read A Lot.” Plus, check out Madison Cunningham’s “Dry As Sand.”

This week on the Culture Gabfest, Stephen Metcalf, Dana Stevens, and Julia Turner discuss the Hulu adaption of Sally Rooney’s Normal People. Next, they talk about John Krasinski’s Some Good News. Finally, the panel dives into Dana’s comfort watch for this week: In a Lonely Place. On the Slate Plus segment this week, the panel is joined by Jody Rosen to talk about the music and legacy of Little Richard. Sign up for Slate Plus at Slate.com/cultureplus Podcast production by Cameron Drews. Production assistance by Rachael Allen. Endorsements: Dana: Spike Lee’s short film about New York City. Julia: The Donut Hole in La Puente, Calif., a trip inspired after reading “Drive-throughs and drive-ins were fading. Coronavirus made them a lifeline” by Carolina A. Miranda in the Los Angeles Times. Steve: Nick Lowe performing “(What’s So Funny ‘Bout) Peace, Love, and Understanding” as part of Rolling Stone’s “In My Room” series. Also, Nick Lowe’s “I Read A Lot.” Plus, check out Madison Cunningham’s “Dry As Sand.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Proverbs in 365 Devotions For more go to braggingonjesus.com Proverbs 20:2 The terror of a king is like the growling of a lion; whoever provokes him to anger forfeits his life. 3 It is an honor for a man to keep aloof from strife, but every fool will be quarreling. What is it about a foolish man that he will quarrel with anything from a Mountain to a mathematical calculation when neither one can be persuaded one inch? A foolish son will argue with his father who has the authority to discipline him… A foolish person will get up into a police officers face knowing they will either get beat up or will spend the night in jail. You already know what it is that keeps us coming back for more don’t you? Of course you do, we all do… its pride. We’re all familiar with it on some level where we live. It’s commonly seen when one or both spouses quarrel and defend themselves… before you know it, even the one who was in the right about the specifics of the quarrel has to apologize. Solomon says how whoever provokes a king to anger forfeits his life. A king had the power to wave his hand and have someones head cut off. His terror is like the growling of a lion. You would think that would scare someone right? Kim Jong Un of North Korea is much like a king in that respect. It seems that the whole country hears his roar and smiles when he says smile and would stand on their head and stack bb’s if he said to… or they would at least try. Why?… because they don’t want to anger him… they don’t want forfeit their life. Of course this passages lends nicely to the King of Kings who has good reason to be angry with mankind. Psalm 7:11 God is a righteous judge, and a God who feels indignation every day. And we all have provoked him to anger… all have refused the joys in acknowledging his glory and love… And when he sent his only Son to be paid the wages for our crime, we were the ones who crucified him… We will all one day stand before him and face his terror in righteous judgment. Matthew 10:28 And do not fear those who kill the body but cannot kill the soul. Rather fear him who can destroy both soul and body in hell. In verse three of today’s passage Solomon also says: 3 It is an honor for a man to keep aloof from strife, How can we keep from strife? Can anyone really? Arn’t we broken people in a broken world? Verse 3 brings to my mind the Beach Boys song “In My Room”. Some of the lyrics say “There's a world where I can go and tell my secrets to, In my room, In my room.” In Matthew 11:28-30 Jesus said this: 28 Come to me, all who labor and are heavy laden, and I will give you rest. 29 Take my yoke upon you, and learn from me, for I am gentle and lowly in heart, and you will find rest for your souls. 30 For my yoke is easy, and my burden is light.” The great thing is that when we come to Jesus… when we look to him with delight… draw nigh to him, call on him, have faith in him, believe in him… The spiritual strife that comes from the darkness in this broken world is taken from us. We have Gods peace and joy because of Jesus. The same power of God that raised him from the dead lets us walk in spiritual resurrection with victory over the strife that comes from sin. God gives us the righteousness of Jesus… and the strife that would have accompanied us on judgment day is also removed. John 3:18 Whoever believes in him is not condemned, but whoever does not believe is condemned already, because he has not believed in the name of the only Son of God. Revelation 21:4 He will wipe away every tear from their eyes, and death shall be no more, neither shall there be mourning, nor crying, nor pain anymore, for the former things have passed away.”

Die Gäste der ersten QUEERKRAM-Folge sind der Schauspieler Jonas Dassler und den Dramatiker und Theaterregisseur Falk Richter. Der 1996 geborene Dassler, der auf der Berlinale als "European Shooting Star" ausgezeichnet wurde, steht derzeit in Richters Stück "In My Room" im Maxim Gorki Theater auf der Bühne – eine von der Kritik viel gelobte Auseinandersetzung mit toxischer Männlichkeit. Im vergangenen Jahr sorgte er mit seiner Darstellung des Serienmörders Fritz Honka in "Der Goldene Handschuh" für Aufsehen. Falk Richter wiederum durfte 2019 für sein Gesamtwerk, zu dem auch das wichtige schwule Stück "Small Town Boy" gehört, den Special Teddy Award mit nach Hause nehmen. Besondere mediale Aufmerksamkeit erlangte der 50-Jährige vor fünf Jahren wegen seines Theaterstücks "Fear", in dem er auch zeitgenössische Homo-Hasser benannte. Diese fühlten sich durch das Stück diskriminiert; eine Klage von "Demo für alle"-Organisatorin Hedwig von Beverfoerde scheiterte jedoch vor dem Berliner Landgericht Daraufhin zog auch die AfD-Politikerin Beatrix von Storch ihre Klage zurück.

Remember the song by the Beach Boys, In My Room? Here's some of the lyrics written by songwriter Vince Clark: "There's a world where I can go and tell my secrets to... In my room, in my room. In this world I lock out all my worries and my fears... In my room, in my room. Do my dreaming and my scheming... Lie awake and pray. Do my crying and my sighing...Laugh at yesterday. Now it's dark and I'm alone. But I won't be afraid ...In my room, in my room." Today's episode 'The Secret Place of the Most High' is about going to that 'room.' No matter what path you are on along this positive path for successful and prosperous living, you really need to make time to intentionally 'be' in this room. Listen in to today's episode to find out why. This secret place, this room, will be where great things fashion themselves. This is the place where you will give birth to all that you wish to be, do and have in your life. This is our connection point with our Higher Self and All that is! Enjoy! Dr. Koz (and effect!) Dr. Stephen J. Kosmyna, Ph.D.

Russell and Robert meet artists Hannah Quinlan and Rosie Hastings. We explore the challenges & benefits of making art as a duo, letting go of your ego when collaborating, their decision to build their own @GayBar venue where they hosted one-off events over a 4 year period in their South London studio (complete with a bouncer, actual cocktail glasses and the occasional police raid!!!). We learn what it was like travelling around the country to make ‘UK Gay Bar Directory (UKGBD)’ (2015–16) a 5 hour video archive of LGBTQ social spaces. We discuss a ‘Gay Pride float’ they designed for Art Night (2019) in Walthamstow, their film ‘Something for the Boys’ (2018) and learn about an ongoing series of detailed drawings such as ‘The Sleepers’ (2019), their admiration for Michaelangelo, and the recent desire to create frescos. Their first institutional solo exhibition ‘In My Room’ brings together film, fresco painting and works on paper @FocalPointGallery, Southend, Essex from 16th February until 31st May 2020. Special thanks to Rózsa Farkas @ArcadiaMissa London and P·P·O·W @ppowgallery New York. If you've enjoyed this episode, be sure to leave us a review on Apple Podcasts or email talkartpodcast@gmail.com as we love hearing your feedback! See acast.com/privacy for privacy and opt-out information.

Happy New Year! On Ep. 16 of Things to Keep in Mind, A.E.Charles has a candid and intimate conversation with his listers about how to gain structure and balance in their lives this year through refocusing their attention on self care and love, which will lead to them being able to accomplish all their goals and dreams for this year and decade. Throughout the show A.E. plays two of his new singles: In My Room https://distrokid.com/hyperfollow/chrishoversvictorrashadandaecharles/in-my-room and Get Up X Get It [Motivation Remix] https://distrokid.com/hyperfollow/aecharles/get-up-x-get-it-the-remixes. I hope you enjoy the show! ReviewCast: https://anchor.fm/hao-chen --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/anzel-nichols/support

Rock n Roll Hall of Fame Inductee! Merry Christmas!! Featured in the Academy Award Winning Documentary "20 Feet from Stardom", Darlene Has done a LOT #1 Hit Make, Actress on Stage & in Motion Picture Blockbusters like the "Lethal Weapon" Movies Rolling Stone Magazine has proclaimed Darlene Love to be “one of the greatest singers of all time” and that certainly rings true, but perhaps Paul Shaffer says it even more concisely: “Darlene Love is Rock N’ Roll!” From her first number #1 Hit,"He's A Rebel", through her string of label hits with legendary producer Phil Spector, including "Da Doo Ron Ron", "He's Sure The Boy I Love & "Christmas Baby Please Come Home" a classic she sangs every Christmas season on the "Late Show with David Letterman (it is David's favorite). Darlene on Lead Vocals #1 Hit ~ "He's a Rebel" ~ The Crystals #10 Hit ~ "He's Sure the Boy I Love" ~ The Crystals Darlene solo ~ "Christmas (Baby Please Come Home)" In December 2010, Rolling Stone Magazine ranked "Christmas (Baby Please Come Home)" first on its list of The Greatest Rock and Roll Christmas Song, saying that "nobody can match Love's emotion and sheer vocal power." Several of the classic hit song's she sings backup on: Sam Cooke's ~ "Chain Gang", Bobby "Boris" Pickett ~ "The Monster Mash" "(You're My) Soul and Inspiration" ~ The Righteous Brothers "Walking In The Rain" ~ The Ronettes The Beach Boys ~ "In My Room" "Poor Side of Town" ~ Johnny Rivers "Rock and Roll Lullaby" ~ B.J. Thomas "Let Us Pray" ~ Elvis Presley "Get It Right" ~ Luther Vandross And many other top 10 hits of the Rock n Roll Era. Her voice is on countless songs she sang backup on for artists like Sam Cooke, Elvis Presley, Dionne Warwick, Cher, Luther Vandross and Aretha Franklin. One of Darlene's biggest fans is "The "Boss" Bruce Springsteen. She has proven herself a talented actress as well, on stage and screen, starring as Danny Glover's wife in all of the LETHAL WEAPON films and lighting-up Broadway in such musicals as GREASE and the Tony-award nominated LEADER OF THE PACK. Darlene also starred for three years on Broadway as ‘Motormouth Maybelle’ in the Tony Award winning musical HAIRSPRAY. Darlene Love was just a high school sophomore in Los Angeles when she was discovered out of a gospel choir, and asked to join a burgeoning girl group called The Blossoms, who began recording for Phil Specter. Soon thereafter, other artists like Sam Cooke were attracted to her powerful sound, and sought Darlene on their recordings. With The Blossoms and Bob B. Soxx and the Blue Jeans, Darlene sang lead vocals on some of the greatest music hits of the 60's. The Blossoms landed a weekly spot on the landmark television series SHINDIG & Elvis's 1968 Comeback Special and through the 60's and 70's, Darlene continued to perform with and back-up such diverse artists as The Beach Boys, The Mamas & The Papas, Tom Jones, The Righteous Brothers and Sonny & Cher. She has received great national press exposure, including a feature in PEOPLE magazine, a CNN television documentary on her life, and bookings on numerous national television programs, including NBC-TV's TODAY, Wendy Williams, CW and Oprah as her yearly stint on the David Letterman show which she has done 26 years strong. Darlene’s first studio Christmas album, “It’s Christmas, Of Course” was released December 2007 to national critical praise. In 2010 Darlene began a tour of Australia starring as ‘Miss Sherman’ in “Fame: The Musical”. Darlene has also released a CD and DVD of her live concert ”The Concert of Love” produced and released by Reel Good Productions. Her albums include AGE OF MIRACLES, recorded live in New York City and her first gospel album, UNCONDITIONAL LOVE released by Harmony records. A feature film based on Darlene’s autobiography “My Name Is Love” is in the works Along with more great new music for released in 2019. © 2019 All Rights Reserved © 2019 Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Join Me on Facebook @ Facebook.com/BuildingAbundant Success

Welcome to the PeayCast! The Governors football team could do something it hasn't done since 1977, and it could happen as early as this weekend. We don't want to jinx it, but it should be noted, along with big basketball weeks and potentially a wild final weekend of volleyball. But this show centers around Maddie Morstad of the cross country team and her incredible story. Audio Intro: The Chainsmokers, “Push My Luck” Morstad Intro/Outro: Dominic Fike, “3 Nights” Audio Outro: Frank Ocean, “In My Room”

David Lee Marks is best known for his work as a member of The Beach Boys. Growing up across the street from the Wilson family, Marks spent his formative years singing and playing with Brian, Dennis, and Carl Wilson.   At age 10, David received his first guitar for Christmas; he and Carl began studying with John Maus (later John Walker of the Walker Brothers) and developing their own electric guitar style, which caught the attention of Carl's oldest brother, budding composer Brian. David and Carl's rock ‘n' roll guitar sound blended with Brian's complex harmonies to help create the signature sound of the Beach Boys. ​ Thirteen-year-old Marks officially joined The Beach Boys in February 1962 and became one of the five signatories on the band's recording contract with Capitol Records. He remained a member through October 1963, performing in over 100 concerts across the United States, appearing on national television, and playing rhythm guitar and singing on the band's first four albums, and on hits like “Surfin' Safari,” “409,” “Surfin' U.S.A.,” “Shut Down,” “Surfer Girl,” “In My Room,” and “Be True to Your School.” While David's time in the band may be considered short, there's no denying the impact of the early years of the Beach Boys on their enduring and iconic legacy.  ​ Leaving the Beach Boys gave David the freedom to focus on his own songwriting with a new band, David Marks & The Marksmen. One of the first bands to sign to Herb Alpert's A&M Records, The Marksmen packed concert venues up and down the state of California but ultimately disbanded in 1965 after a release on the Warner Brother's label.  ​ Marks went on to record session-work for Murry Wilson's Sunrays. He also played with Casey Kasem's Band Without a Name, cult-classic psychedelic-pop bands The Moon and Colours, Delaney & Bonnie, and Warren Zevon. By age 21, he had been signed to five major record labels and had grown disillusioned with the Los Angeles music scene. In 1969, he relocated to Boston, where he studied jazz and classical guitar as a private student at the Berklee College of Music and the New England Conservatory. David went on to earn a reputation as a solid session guitarist without ever capitalizing on his previous association with the Beach Boys. Through it all, however, he remained friends and stayed in contact with members of the Beach Boys, even appearing as a special guest from time to time. David rejoined the band in as a full-time member in 1997, when Carl Wilson, fighting cancer, was unable to continue touring with the group. Marks left the band for a second time in 1999 after being diagnosed with hepatitis C. Since his diagnosis, he has become a leader in the hepatitis C community, often appearing in the media to raise awareness of the disease. ​ In 2007, David co-wrote his autobiography, The Lost Beach Boy, with Beach Boys historian Jon Stebbins. The book is a frank account of his career with and without the Beach Boys, his health problems, his musical development, and his recovery and acceptance within the Beach Boys community. ​ The Beach Boys celebrated their 50th Anniversary in 2012 when David Marks joined Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston on a 73-date World Tour. The highly anticipated reunion kicked-off at the 54th Annual Grammy Awards where they performed two classic hits: Surfer Girl (with Foster the People) and Good Vibrations (with Maroon 5). Their studio efforts led to the release of That's Why God Made The Radio on Capitol Record, marking the first Beach Boys album of new material since 1992; for their efforts, the album broke in at Number #2 on the Billboard charts. The band's subsequent world tour took America's Band on 73 shows on four continents and included appearances on The Tonight Show with Jay Leno, The Late Show with Jimmy Fallon, Charlie Rose, Good Morning America, the Jools Holland Show, SMAP, and the Today Show Australia. The also sang the National Anthem on opening day of Dodger's Stadium, which was also marking its 50th season.     Post reunion, David and Al Jardine joined Brian Wilson for a short US Summer Tour, followed that fall with a subsequent North American tour which included Jeff Beck. The collaboration was voted the #3 tour of 2013 and landed Wilson, Jardine, Marks & Beck another slot on the Jimmy Fallon Show.  David Marks also joined an illustrious group of artist who guested on Brian Wilson's 2015 solo release, No Pier Pressure – his guitar can be heard on the album's single, The Right Time, which charted #28 on the Billboard charts and #1 on BBC Radio Two, and  ​ David Marks toured as a part time member of Mike Love's Beach Boys from 2014 - 2016 and continues to perform with the Surf City All Stars and Dean Torrence of Jan & Dean.  David's also returned to his roots as a session guitarist, playing on several albums by artists such as the Smithereens, the Surf City All Stars, Mod Hippie, Jez Graham, and Miami Dan. ​ On his own, Marks has also released two studio albums in the last five years: David Marks & Friends: Live on the Sunset Strip (with guests artists Marilyn Wilson-Rutherford of the Honeys and John Walker of the Walker Brothers) and Back in the Garage featuring Los A-Phonics, from Valencia, Spain, with whom he toured Spain in 2016.  courtesy of davidleemarks.com

Welcome to the PeayCast! The Governors football team could do something it hasn’t done since 1977, and it could happen as early as this weekend. We don’t want to jinx it, but it should be noted, along with big basketball weeks and potentially a wild final weekend of volleyball. But this show centers around Maddie Morstad of the cross country team and her incredible story. Audio Intro: The Chainsmokers, “Push My Luck” Morstad Intro/Outro: Dominic Fike, “3 Nights” Audio Outro: Frank Ocean, “In My Room”

Matt Patricia: Defensive Savant. Trubisky done? There’s a lot of good quarterbacks. Vinny Testaverde was a Carolina Panther. The tattered and torn Pistons. The Suns are… good? Music: “In My Room” — Frank Ocean “Blue Suede” — Vince Staples

Nothinpodcast Episode 16: All Of The Lights  Intro Music: Kendrick Lamar Ft Jay Rock – Money Trees  Nore Ft Chinx Drugs & French Montana – Off The Ripp  The show opens with a warm welcome back to Co-Host Sir Remy Martin after his cruise of the Islands. The two speak on some changes coming to the NothinMerch as far as introducing the audience to our new Co-Host Dough Boy.   How much is enough? The two dive into a discussion on Jha Jha queens flip interview and if Jim Jones can be held responsible for Max B being locked up and Chinx being murdered in the streets after coming to Jim Jones for help. Do you believe that Jim Jones owed them anything?  What is it with other adults counting other adults’ money? Pocket watching is a problem lets stop that. The two discuss some of their favorite celebrity Halloween costumes as well as some of the worst.   Nicki Minaj and Wendy Williams are currently in the middle of a war of words after Wendy discussed Kenneth Petty (Nicky’s spouse) on her popular show during the hot topics segment. Nicki did not like what she said and decided she wanted to clap back on Queen Radio. The two break down the comments and discuss Nicki Minaj’s most recent temper tantrum at the media.  New Music Friday breakdown this week breaks down Remy’s Martin’s feelings on Kanye’s Jesus is King. The two also preview 21 Savage Immortal, Frank Ocean’s DHL & In My Room, Jadakiss Me.  With all of the host of Nothinpodcast being from Connecticut the recent list of top Connecticut artist and constant talk from local artist of them being the best brings forth a conversation on who is really making noise in Connecticut and who is just in the way of a star.  Have you ever been a victim to a gender double standard? After the recent issues with Lil Fizz & Omarion the conversations place women on the bad side of a double standard. What about the men? A lot of double standards are normally in the favor of women so is it really a big deal when a few works for men?  The show closes with Famous Dex seizure he had in the club, hip-hop arguments and more

The Mercury Tree is an experimental prog band from Portland, Oregon, and we interviewed them in the middle of their Spidermilk tour across the U.S. Spidermilk is entirely in 17-tone equal temperament, though the band have also used microtones previously (Permutations, Cryptic Tree EP). Spidermilk is a particularly exciting album because the band went entirely microtonal on it. On this episode, we discuss the challenges of going microtonal as a successful band, what the future holds, the writing process for these songs, and, of course, the TRI-TAD. At the time of release, the band consists of Ben Spees, Oliver Campbell, Connor Reilly, and Jason Yerger. If you haven’t listened to Spidermilk already, you should (and you’re missing out)! You can find it on Bandcamp! Support the show We need your support! Please rate Now&Xen on iTunes, and tell us how we could improve! And tell your musical friends about it! Remember, microtonality is for everybody! Music Intro: The Mercury Tree - Interglacial (from Spidermilk) [17edo]Brendan Byrnes - Zibra Island (from Micropangaea) [non-octave 12/7 based tuning] Wendy Carlos - Beauty and the Beast [Wendy Carlos tunings] ZIA (Sevish remix) - Greater Good (from Drum n’ Space) [Bohlen-Pierce] The Mercury Tree - Arc of an Ilk (from Spidermilk) (17edo) Brendan Byrnes - Electric Seven (from Neutral Paradise) [7edo & 14edo] Jacob Collier - In My Room (from In My Room) [12edo] The Mercury Tree - Interglacial (from Spidermilk) [17edo] The Mercury Tree - Tides of the Spine (from Spidermilk) [17edo] The Mercury Tree - I am a Husk (from Spidermilk) [17edo] The Mercury Tree - Kept Man (from Spidermilk) [17edo] The Mercury Tree + Cryptic Ruse - Change Your Passwords (from Cryptic Tree EP) [17edo + 23edo] John Smith - The Star-Spangled Banner (re-tuned in 24edo) The Eagles - Hotel California (re-tuned in 15edo) The Mercury Tree - Tides of the Spine (from Spidermilk) [17edo] The Mercury Tree - Vestments (from Spidermilk) [17edo] The Mercury Tree + Cryptic Ruse - Diffractions and Halos (from Cryptic Tree EP) [17edo] The Mercury Tree - Superposition of Silhouettes (from Spidermilk) [17edo] City of the Asleep - Midnight in the Garden of Missed Connections (Map of an Internal Landscape) [27edo] Randy Winchester - Five Hemispheres (mvt. I - 7edo) The Mercury Tree - Kept Man (from Spidermilk) [17edo] The Mercury Tree - Vestments (from Spidermilk) [17edo] The Mercury Tree - Disremembered (from Spidermilk) [17edo] Outro: The Mercury Tree - Disremembered (from Spidermilk) [17edo] Socials/Projects https://www.facebook.com/mercurytree/ https://themercurytree.bandcamp.com/ https://www.youtube.com/user/TheMercuryTree Follow http://nowandxen.libsyn.com https://twitter.com/now_xen https://www.facebook.com/nowxen/ Subscribe RSS: http://nowandxen.libsyn.com/rss iTunes: https://itunes.apple.com/us/podcast/n… Spotify: https://open.spotify.com/show/1mhnGsH… Stitcher: https://www.stitcher.com/podcast/nowxen Twitter: https://twitter.com/now_xen Facebook: https://www.facebook.com/nowxen/ YouTube: https://www.youtube.com/channel/UCnmYNMpemAIq8DnK5HJ9gsA

As I keep accepting the challenge of putting my insomnia to good use, this morning was no exception. Up at 3AM, I decided to thumb through some photo books. This morning’s selection was Saul Leiter’s, In My Room. Enjoy. The post INSPIRED – Episode 29 – 3AM with Saul appeared first on Photography Matters.

I had an awesome conversation with the "mildly upset" boys from In My Room! We talked about the current state of "emo", about feminism, and about making the music that YOU want to make! Check them out on Facebook and Instagram: https://www.facebook.com/inmyroomband @inmyroomband

The fourth episode of the Pop Break's Way Too Early Oscar Predictions is back! Film editor Marisa Carpico and TV editor Matt Taylor return to talk Oscars. Both attended this year's New York Film Festival, and are breaking down movies such as: Wild Life, Roma, In My Room, Cold War, The Favorite, Shoplifters and more!

The Listener's Series continues as Pat and Kyle welcome Kevin Hartbarger to the Guest Co-Host seat to discuss one of his favorite bands... The Beach Boys!! Get ready because this one is epic in length!

NEW FOR AUGUST 15, 2018 Musical crumbs left all over the world. Graham Crackers - The Best Radio You Have Never Heard Vol. 344 1. Are You Experienced (live) - Jimi Hendrix Experience feat. Virgil Gonzales Buy From iTunes* 2. Halo Spaceboy (live) - David Bowie w/ Foo Fighters 3. White Light, White Heat (live) David Bowie w/ Lou Reed 4. So What (live) - Ministry Buy From iTunes* 5. Cinema / Perpetual Change (live) - Yes feat. Anderson, Rabin and Wakeman 6. In My Room (live) - Brian Wilson Buy From iTunes* 7. My Old Friend The Blues / Someday / Guitar Town (live) Steve Earle and The Dukes 8. Tenement Funster / Flick Of The Wrist (live) - Queen Buy From iTunes 9. Would? - Alice In Chains Buy From iTunes 10. Missing (live) - Pearl Jam 11. Love Will Tear Us Apart / Imagine / Jump / Blitzkrieg Rock (live) - Foo Fighters 12. Guess Who's Coming To Dinner / Abortion (live) - Black Uhuru Buy From iTunes* 13. The Weight - Aretha Franklin w/ Duane Allman Buy From iTunes 14. You Don't Love Me (live) - The Allman Brothers Band Buy From iTunes* The Best Radio You Have Never Heard. As diverse as any BIll Graham concert lineup. Accept No Substitute Click to leave comments on the Facebook page. And it's Happy 91st Birthday to my Mom, Teddy! Please wish my Mom, Teddy Bax, a very happy 91st Birthday (with where you are listening from of course) for the rest of August in the comment box below this post or on the Facebook page.

En este episodio, Alex Eugenio rememora el proceso de composición de “Serenata (Para los Dos)”, una de las canciones de su disco debut Aurora (2018). Además, recuerda su acercamiento a la música latinoamericana, y cómo el bolero y otros géneros románticos del ayer se convirtieron en un estilo de vida, hoy. Postlatino es uno de los proyectos ganadores de los Grants de Producción Creativa 2017-2018 de la Universidad San Francisco de Quito. Producido por Miguel Loor Edición, mezcla y diseño de sonido por Camila Espinosa (Milú) "Serenata (Para los Dos)" aparece por cortesía de Alex Eugenio y Poli Music Tema principal “Tamiya” de Auma, aparece por cortesía de Edmoon Records Tema créditos “La Cumbia Quitapenas" (Tribilin Sound Remix) de Lascivio Bohemia, aparece por cortesía de Edmoon Records Fotografía por Adriana Gómez Diseño por Manuela Vásquez Guayasamín Material de sonido adicional: Alex Eugenio - "Corazón Abandonado" Los Panchos - "Sin Ti" Beach Boys - "In My Room" Gustavo Pena - "Pensamiento de Caracol" Eduardo Mateo - "Yulelé"

The Conservatarians discuss — what else — Kanye West, Chance the Rapper and their tweets about Trump and the GOP. Especially the backlash from floored liberals. The intro/outro music and Jon’s song of the week is “Every 1’s a Winner” by Ty Segall. Stephen’s song of the week is “In My Room” by Graham Coxon. To listen to all the music featured on The Conservatarians, subscribe to our Spotify... Source

The Conservatarians discuss — what else — Kanye West, Chance the Rapper and their tweets about Trump and the GOP. Especially the backlash from floored liberals. The intro/outro music and Jon's song of the week is “Every 1's a Winner” by Ty Segall. Stephen's song of the week is “In My Room” by Graham Coxon. To listen to all the music featured on The Conservatarians, subscribe to our Spotify... Source

Welcome to Heat 1 of the MNN Presents: Battle Of The Bands podcast. Kavanagh, Nano, In My Room and Grand Ultra are battling it out for your votes. Voting is open at www.mindnoisenetwork.com/botb until the 8th of March.

Finalizamos a digressão pelos vinte filmes essenciais do cinema português, segundo o site Taste Of Cinema, com um episódio a solo sobre uma obra do Pedro Costa que deixou o vosso fiel apresentador meio desesperado.  A lista pode ser consultada em: http://www.tasteofcinema.com/2014/20-essential-films-for-an-introduction-to-portuguese-cinema/ Tema de Mundo Lego. Música final: “In My Room" dos Beach Boys. 

Brooklyn Swing,Red Fox Love Is All I Bring,Spragga Benz Conqueror,Agent Sasco Pum Pum Phat,Shaggy MAIN VOLUME,EESAH BEN YUH BACK (BINNIE SMALLS REMIX) ,WARD 21 FT SEAN PAUL Grizzle,Marcy Chin BADDA (RAW),FROGGY FULL STOP,TARANCHYLA BRAVE ENOUGH (VARIOUS ARTIST DISS),CUTTY RANKS THE HURB (FLY HIGH),CHARLY BLACK BLIND DEM (BADMIND),DELLY RANX DUNG DUNG LOW,WAYNE WONDER RIDE IT (RAW),EARTHWORM DIF-A-RENT,PATEXX LIKES  DUB,CHRONIXX Get Drunk (Street),Cham feat. Miss O TAXI,VYBZ KARTEL FT LIKKLE MISS Fat Piece,Shaggy Lock n Key ,Sean Paul Bubble ,Skinny Fabulous   In My Room,Beenie Man CND DENZEL WHITE SHORTER, Chicken and Dumplin,Bunji Garlin Raise your Glass,Fay Ann Lyons-Alvarez The Ghetto,African WAH DAT ,MASICKA Big Moves,Jahmiel Kool Dung (Raw),Ryme Minista MASH UP THE PLACE ,VYBZ KARTEL Stronger Now (Explicit),Popcaan ADDICTIVE ,POPCAAN Me Dont Love You Gyal (Raw),Alkaline Bubble,Shane 0 All Night,Romain Virgo Party Nice (Raw),Masicka Money A Di Order Of Di Day,Tok Look Over Mi Shoulder,Jahmiel We Nuh Care,Beenie Man Meet and Greet,Kranium Ride,Marcy Chin Saturnz Barz ,Gorillaz Ft. Popcaan CAN'T BREATHE ,Kabaka Pyramid HiGrade Skanking,EchoSlim X Nicko Rebel X Mr. Williamz Steamin,Fyakin Always Be Around,Jesse Royal No War ,Noise Cans feat. Jesse Royal vibes i ii.,Runkus

They say there are no second acts in American lives, and third acts are almost unheard of. That's part of what makes Brian Wilson's story so astonishing. As a co-founding member of the Beach Boys in the 1960s, Wilson created some of the most groundbreaking and timeless popular music ever recorded. With intricate harmonies, symphonic structures, and wide-eyed lyrics that explored life's most transcendent joys and deepest sorrows, songs like "In My Room," "God Only Knows," and "Good Vibrations" forever expanded the possibilities of pop songwriting. Derailed in the 1970s by mental illness, drug use, and the shifting fortunes of the band, Wilson came back again and again over the next few decades, surviving and-finally-thriving. Now, for the first time, he weighs in on the sources of his creative inspiration and on his struggles, the exhilarating highs and the debilitating lows. Published by DeCapo Press on October 16th, 2016 and written with Ben Greenman. Disclaimer: The views expressed here by Shelley Sorenson are made in her capacity as a private citizen, and do not necessarily reflect the views of the San Francisco Public Library or the City of San Francisco.

This week, Josh discusses Jacob Collier's 2016 debut record, In My Room!

1. The Chainsmokers feat. Charlee - Inside Out (Armnhmr Remix) 2. Kill The Noise - Fuk Ur Mgmt (Snails Remix) 3. Wiwek & SKrillex feat. Elliphant - Killa (Slushii Remix) 4. ID-ID 5. A$AP Mob feat. Juicy J - Yamborghini High 6. ID-ID 7. Jo Cohen & Sex Whales - We Are 8. Callie Reiff X Dapp - Wobble 9. Cash Cash feat. Sofia Reyes - How To Love (Boombox Cartel Remix) 10. ID - ID 11. Kill The Noise - Dolphin On Wheels (unknown remix) 12. ID-ID 13. Hoodboi - Closer (Ganz Remix) 14. Drake - Summer Sixteen 15. ARMNHMR - Trauma 16. Russ - What They Want 17. Desiigner - What Im Do Today 18. The Chainsmokers - Dont Let Me Down (Dom Da Bomb & Electric Bodega Remix) 19. Rihanna - Work (unknown remix) 20. MO - Final song 21. Yellow Claw & Dj Mustard feat. Tyga & Ty Dolla $ign - In My Room 22. Rihanna - Needed Me (Jakoban & D!avolo Remix)

Like Autism Live on Facebook at http://facebook.com/autismlive    Ken Malouf visits from one of Shannon’s favorite toy companies, Uncle Milton Toys!  Ken shows a variety of toys from In My Room and In My Room Jr. as well as the new line of Dino X Discovery and the fan favorite, Star Wars Science toys!  Uncle Milton toys are amazing for making room environments, safe, comfortable and interactive.  They are famous for making toys that spark the imagination! See the full line of Uncle Milton Toys at www.unclemilton.com .     Sign up for Autism Live’s free newsletter at: http://www.autism-live.com/join-our-email-list.aspx    Autism Live is a production of the Center for Autism and Related Disorders (CARD), headquartered in Tarzana, California, and with offices throughout, the United States and around the globe. For more information on therapy for autism and other related disorders, visit the CARD website at http://centerforautism.com

Like Autism Live on Facebook at http://facebook.com/autismlive    Today on Autism Live: Kerry Magro talks about his new book Autism and Falling in Love: To the One That Got Away. This is a frank discussion on some of the difficulties that can and do arise in romantic relationships when someone is on the Autism Spectrum.  You can purchase Kerry’s book by going to http://www.amazon.com/Autism-Falling-Love-That-Away/dp/0692338098 All of the proceeds from Autism and Falling in Love go to charity.  The Festival of Toys continues!  Janice Ross and Angelina Castro from American Greetings visit to talk about Care Bears!!! These amazing toys have been a favorite for more than 30 years.  Shannon talks with the ladies about how these precious toys work on perspective taking skills, understanding and dealing with emotions and so much more! Check out the full line of Care Bear toys, games, apps and clothing along with other family favorite brands like Strawberry Shortcake at www.americangreetings.com  Ken Malouf also visits from one of Shannon’s favorite toy companies, Uncle Milton Toys!  Ken shows a variety of toys from In My Room and In My Room Jr. as well as the new line of Dino X Discovery and the fan favorite Star Wars Science toys!  Uncle Milton toys are amazing for making room environments, safe, comfortable and interactive and for making toys that spark the imagination! See the full line of Uncle Milton Toys at www.unclemilton.com .  Dr. Linda Copeland, BCBA and Pediatrician, answers parent’s questions about detoxifying naturally, treating asthma, yeast, ADHD and more.   Sign up for Autism Live’s free newsletter at: http://www.autism-live.com/join-our-email-list.aspx    Autism Live is a production of the Center for Autism and Related Disorders (CARD), headquartered in Tarzana, California, and with offices throughout, the United States and around the globe. For more information on therapy for autism and other related disorders, visit the CARD website at http://centerforautism.com

Shrunken Head Lounge Surf Radio Show Running Time: 29 minutes 30 seconds Noodles: Retro 60's AM DJ featuring The Beach Boys 1. Beach Boys - Fun, Fun, Fun (2:04)2. Beach Boys - Help Me Rhonda (3:10)3. Beach Boys - California Girls (2:37)4. Beach Boys - Surfin' USA (2:30)5. Beach Boys - Little Deuce Coupe (1:36)6. Anette Funicello The Beach Boys The Monkey's Uncle (2:35)7. Barbra Ann (2:09)8. 01 In My Room (2:12)9. 03 Don't Worry Baby (2:51)10. 10 I Get Around (2:14)11. 01 Surfin Safari (2:06)12. 05 Wendy (2:25)13. 07 When I Grow Up To Be A Man (2:03)

1 Intro 2 Tape Findings - "The Oxford Club" 17:20 3 Chisel - "Priviliged & Impotent" 02:54 4 Jumbling Towers - "Apartments" 03:32 5 The xx - "Islands" 02:39 6 Scott Allen - "We Eat Like Cannibals" 03:27 7 Cath Carroll - "My Cold Heart" 02:59 8 James Deane - "Dreamed You Were Home" 04:13 9 Dials - "All The Same" 03:52 10 "sexy_sisters" 00:10 11 Greg Dulli - "Early Today (and Later That Night)" 03:33 12 Pulp - "It's A Dirty World (Recording Session Outtake)" 05:12 13 Television Personalities - "Three wishes" 05:23 14 Charlie And Todd - "A Conversation Between Two Red Ants" 00:36 15 The Creation - "Life Is Just Beginning (Alternate Take)" 03:19 16 Crazy Elephant - "Higher and Higher" 03:36 17 The Small Faces - "Grow Your Own" 02:18 18 Pat & Lolly Vegas - "Papa's Got a Brand New Bag (Pat and... 02:24 19 Tape Findings - "1986 kids doing the news" 03:05 20 Psycho VII - "Just Another Fun Love Song" 05:09 21 Crooked Fingers - "White Trash Hereos" 04:57 22 Beach Boys - "In My Room" 02:12 23 Sweet Thunder Found Sound - "Tod & Jeff Fight/Danger Zone" 03:28 24 China Drum - "Biscuit Barrel F.M.R." 03:48 25 The Afghan Whigs - "Brother Woodrow / Closing Prayer" 05:38 26 Found Sound - "jill becky katie all out of love" 04:09

Program 20: In this program we look at "In My Room" by the Beach Boys.