POPULARITY
5 episodes with it be nice
2 episodes with it be nice
2 episodes with it be nice
3 episodes with it be nice
2 episodes with it be nice
2 episodes with it be nice
2 episodes with it be nice
2 episodes with it be nice
3 episodes with it be nice
Here are some songs from your life, "Backstreet Girl" by the Rolling Stones, "Joey" by Bob Dylan, "Road to Nowhere" by the Talking Heads, "Boy In The Bubble" by Paul Simon, "July Fourth, Asbury Park", better known as "Sandy" by Bruce Springsteen and the E Street Band, "Wouldn't It Be Nice" by the Beach Boys. They all rely heavily on the accordion. "Wouldn't It Be Nice" is the biggest shock. Even if you know that song, it might never have occurred to you that Brian Wilson uses I'm pretty sure two accordions to make the primary propulsive musical fabric of that song. The last two decades of indie music ought to have normalized the accordion - Tom Waits, REM, Arcade Fire, The Decemberists... I could go on. It has also endured years of ridicule here in the United States, even while it remained beloved and esteemed in Argentina, Paris, and almost everywhere else in the world. Now, it's enjoying a renaissance here in the States. This hour, we celebrate that with accordion rock stars of all styles. You'll meet a man who is reclaiming the accordion, outfitting his latest version with MIDI controls, so it can mimic voice and other instruments, a woman who specializes in klezmer, and a man who plays his accordion in a trio alongside a guitar and tuba. You also meet other accordion rock stars, including James Fearnley from The Pogues. Just try to tell him that the squeezebox isn’t cool. GUESTS: Cory Pesaturo: Multiple award-winning accordion player from Rhode Island Christina Crowder: Accordion player who specializes in klezmer and other Eastern European styles, and is a member of the Accordion/Violin/Viola trio, Bivolita Will Holshouser: Accordion player and founder of the accordion/guitar/tuba trio, Musette Explosion James Fearnley: Accordion player for The Pogues and the author of the memoir, Here Comes Everybody, The Story of The Pogues. He’s also a composer, and a founding member of The Low And Sweet Orchestra Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode. Colin McEnroe and Chion Wolf contributed to this show, which originally aired on August 7, 2014.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
In eager pursuit of dance and merriment, we dust down the current events. Which this week involves …. … are teenagers no longer in love? And what does this mean for pop music? … are people better musicians now than 40 years ago? And is that because you can get online tutorials explaining how to play everything? … Paul McCartney taking two buses across Liverpool just to learn the chord of B7. … how the best pop songs start with someone walking into a room. … Ghana! India! New Zealand! The Caribbean! The King's Spotify Playlist, a carefully chiselled love letter to the Commonwealth. … do couples still have “Our Tune”? And do they still request songs for each other on radio shows? … Neil Tennant's memories of pre-Putin Russia – “we swept into Moscow in Gorbachev's limousine”. … Thunder Road, And Then He Kissed Me, Wouldn't It Be Nice and other magical songs about dating. … Amanda Seyfried does Joni Mitchell! … the best pop song ever written - and we know the answer! Plus birthday guest David Messer and two great Lou Reed live albums (“he heckles the hecklers!”). David and Mark's One-Man Show in Wareham on April 4: https://loveitlocalmagazine.co.uk/events/one-man-show/ Neil Tennant's piece about pre-Putin Russia: https://www.theguardian.com/music/2025/mar/12/neil-tennant-pet-shop-boys-russia-putin-gay-club-mtvHelp us to find out more about how to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In eager pursuit of dance and merriment, we dust down the current events. Which this week involves …. … are teenagers no longer in love? And what does this mean for pop music? … are people better musicians now than 40 years ago? And is that because you can get online tutorials explaining how to play everything? … Paul McCartney taking two buses across Liverpool just to learn the chord of B7. … how the best pop songs start with someone walking into a room. … Ghana! India! New Zealand! The Caribbean! The King's Spotify Playlist, a carefully chiselled love letter to the Commonwealth. … do couples still have “Our Tune”? And do they still request songs for each other on radio shows? … Neil Tennant's memories of pre-Putin Russia – “we swept into Moscow in Gorbachev's limousine”. … Thunder Road, And Then He Kissed Me, Wouldn't It Be Nice and other magical songs about dating. … Amanda Seyfried does Joni Mitchell! … the best pop song ever written - and we know the answer! Plus birthday guest David Messer and two great Lou Reed live albums (“he heckles the hecklers!”). David and Mark's One-Man Show in Wareham on April 4: https://loveitlocalmagazine.co.uk/events/one-man-show/ Neil Tennant's piece about pre-Putin Russia: https://www.theguardian.com/music/2025/mar/12/neil-tennant-pet-shop-boys-russia-putin-gay-club-mtvHelp us to find out more about how to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In eager pursuit of dance and merriment, we dust down the current events. Which this week involves …. … are teenagers no longer in love? And what does this mean for pop music? … are people better musicians now than 40 years ago? And is that because you can get online tutorials explaining how to play everything? … Paul McCartney taking two buses across Liverpool just to learn the chord of B7. … how the best pop songs start with someone walking into a room. … Ghana! India! New Zealand! The Caribbean! The King's Spotify Playlist, a carefully chiselled love letter to the Commonwealth. … do couples still have “Our Tune”? And do they still request songs for each other on radio shows? … Neil Tennant's memories of pre-Putin Russia – “we swept into Moscow in Gorbachev's limousine”. … Thunder Road, And Then He Kissed Me, Wouldn't It Be Nice and other magical songs about dating. … Amanda Seyfried does Joni Mitchell! … the best pop song ever written - and we know the answer! Plus birthday guest David Messer and two great Lou Reed live albums (“he heckles the hecklers!”). David and Mark's One-Man Show in Wareham on April 4: https://loveitlocalmagazine.co.uk/events/one-man-show/ Neil Tennant's piece about pre-Putin Russia: https://www.theguardian.com/music/2025/mar/12/neil-tennant-pet-shop-boys-russia-putin-gay-club-mtvHelp us to find out more about how to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
California – Joni Mitchell Willin’ – Little Feat Cowboy Hat – Jon Pardi Take It Easy – Eagles I Am a Pilgrim – The Byrds Wouldn’t It Be Nice – The Beach Boys I Take a Lot of Pride In What I Am – Merle Haggard & The Strangers Getaway Girl – Molly Tuttle & Golden Highway Comin' Apart At the Seams – Jesse Daniel
The Daily Quiz - Music Today's Questions: Question 1: With Which Rock Band Does "Slash" Play Guitar? Question 2: Which American rock band released the song 'Wouldn't It Be Nice'? Question 3: What song did Soft Cell have a hit with in 1986? Question 4: Which band includes 'George Harrison'? Question 5: Which band had Freddie Mercury as its lead vocalist? Question 6: What is the name of the second-largest member of the violin family? Question 7: Which British rock band (1970-) released the song 'A Kind of Magic'? Question 8: Which musician wrote the lyrics 'Am I sitting in a tin can? Far above the world, planet Earth is blue and there's nothing I can do'? Question 9: Which band was Niall Horan a member of? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices
MONOLOGUE The Liberal Carbon Tax Con: Desperate Lies, Empty Promises, and Political Survival NEWSMAKER EKOS Research Poll Shows Liberals Closing the Gap – Is this a Mirage? https://www.thewrit.ca/p/projection-update-signs-of-liberal Wyatt Claypool, Senior Contributor with The National Telegraph https://www.youtube.com/@thenationaltelegraph9253 OPEN LINES THE CULT OF CLIMATE CHANGE Trump signs executive order directing US withdrawal from the Paris climate agreement — again What Does the Paris Agreement Actually Do? https://apnews.com/article/trump-paris-agreement-climate-change 788907bb89fe307a964be757313cdfb0 Tony Unveils New Data Analysis Software https://www.visitech.ai Tony Heller, Geologist, Weather Historian, Founder of Real Climate Science dot com MONOLOGUE Trump Shows the Way: It's Time for Canada to Ditch Woke Policies and Get Back to Work NEWSMAKER Biden preemptively pardons Anthony Fauci https://www.wnd.com/2025/01/bidens-pardon-for-fauci-is-in-no-way-going-to-stop-congressional-investigations/ Donald Trump Backing mRNA Vaccine Project Gets Backlash https://www.newsweek.com/donald-trump-mrna-vaccine-cure-cancer-ai-2018701 Naomi Wolf is the Author of The Pfizer Papers: Pfizer's Crimes Against Humanity. Co-founder and CEO of DailyClout.io THE X WARRIORS Liberal Leadership Candidate Mark Carney has submitted his paperwork to enter the race Ahead of tomorrow's deadline. He Claims He's an “Outsider.” Brittani Russell aka Brattani Political Commentator. Her handle on X is @BrattUnderscoreWorld THIS DAY IN ROCK HISTORY In 1966, The Beach Boys entered Gold Star Studios to record “Wouldn't It Be Nice,” the opening track on their forthcoming album, Pet Sounds. In 1977, Paul McCartney proved his post-Beatles prowess when he topped the US album chart for the sixth time with Wings Over America. In 1983, after nearly two years on air, MTV began broadcasting to the West Coast of America. The 24-hour music video network fundamentally changed the way the world interacted with music and was, for many years, the ultimate youth culture tastemaker. Jeremiah Tittle, Co-Host of "The 500 with Josh Adam Myers" Podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a founding member of The Beach Boys, Brian Wilson led a music revolution that went far beyond the ‘60s “California sound” or even pop music generally. But fame and success carry a price. And for Wilson, the price he paid was his mental health and later physical well-being, as well. Substance abuse further complicated his life. In this 1991 interview Wilson looks back on his life and career as he talks about his memoir. Get your copy of Wouldn't It Be Nice by Brian Wilson As an Amazon Associate, Now I've Heard Everything earns from qualifying purchases.You may also enjoy my interviews with Sonny Bono and Mikcy Dolenz For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. and now on YouTube #BeachBoys #Californiasound #1960s #drugabuse
Wednesday, October 30, 2024 Series:"100 Day Bible Reading Challenge" Title: "Wouldn't It Be Nice?" Scripture: Jeremiah 31:10-14 By: Rev. Marisa Gertz Bulletin https://trinitygnv.org/s/635-Bulletin-10-30-24-tt4d.pdf Scripture https://www.biblegateway.com/passage/?search=Jeremiah%2031%3A10-14%20&version=CEB To support the ongoing ministries of Trinity, please make a gift here: https://pushpay.com/g/trinitygnv?src=hpp For more information, go to https://trinitygnv.org/
Wednesday, October 30, 2024 Series:"100 Day Bible Reading Challenge" Title: "Wouldn't It Be Nice?" Scripture: Jeremiah 31:10-14 By: Rev. Marisa Gertz Bulletin https://trinitygnv.org/s/635-Bulletin-10-30-24-tt4d.pdf Scripture https://www.biblegateway.com/passage/?search=Jeremiah%2031%3A10-14%20&version=CEB To support the ongoing ministries of Trinity, please make a gift here: https://pushpay.com/g/trinitygnv?src=hpp For more information, go to https://trinitygnv.org/
Sam and Max dial in with Australia's smoothest singer-songwriter, Pete Murray off the back of his latest single "Wouldn't It Be Good", and ahead of his Summer tour. They chat about Pete's gym routine and footy career, before diving right into the music, how his latest album came about, Pete's journey to fight for the track's inclusion, and which Brisbane venues helped kickstart his career.Connect with Pete Murray on Instagram and Facebook and listen to his latest single, "Wouldn't It Be Nice", on Spotify and Apple Music. Discover more new music and hear your favourite artists with 78 Amped on Instagram and TikTok.
It's been a pretty big year for The Offspring. It's the 40th anniversary of the band, the 30th anniversary of Smash, and they've got their new album Supercharged out now on Concord Records. They've also done some unlikely collaborations during their music festival appearances–Ed Sheeran joined them for “Million Miles Away,” Queen's Brian May joined them for an orchestral rock rendition of “Gone Away” and Queen's “Stone Cold Crazy,” and Offspring singer Dexter Holland joined The Beach Boys for “Wouldn't It Be Nice.” We caught up with Dexter and guitarist Noodles for a new episode of the BrooklynVegan Podcast to talk about all of those things, as well as their early days getting into the punk scene, how their perspective on punk and songwriting have evolved over the years, longevity in rock and punk, Dexter's years working with AFI through his label Nitro Records, music they've been listening to lately, and more. - The BrooklynVegan Show is brought to you in part by DistroKid, a service for musicians that allows you to easily upload your music to all major streaming platforms. You can get 30% off of your first year's membership by signing up at distrokid.com/vip/brooklynvegan. - Theme music by Michael Silverstein.
Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Wouldn't It Be Nice (vocals only) by The Beach Boys (1966)Song 1: Girl, You'll Be a Woman Soon by Neil Diamond (1967)Song 2: Whenever You're Ready by Dinosaur Jr. (2009)Song 3: Before You Start Your Day by twenty one pilots (2009)Song 4: Bitchin' Camaro by The Dead Milkmen (1985)Song 5: The Sails of Charon by Scorpions (1977)Song 6: Mars, the Bringer of War by Gustav Holst (1916)Song 7: Lay It Own Down by Kenny Wayne Shepherd (2017)Song 8: Sweet Home Chicago by Robert Johnson (1936)Song 9: Paid in Full by Eric B. & Rakim (1987)Song 10: Kokola Blues by Madlyn Davis (1927)
Fontaines D.C reprend "Wouldn't It Be Nice" des Beach Boys
Hoshi était l'invitée du #DriveRTL2 ce jeudi 17 octobre. La chanteuse a parlé de son actualité avec Eric Jean-Jean et a interprété en direct des studios de la station Pop-Rock son nouveau single "Tu vas me quitter encore longtemps ?" ainsi qu'une reprise traduite en français de Green Day "Wake Me Up When September Ends". Les classiques du jour : - Ten Years After "I'd Love to Change the World" - Naive New Beaters "Heal Tomorrow" Les nouveautés du jour : - Maggie Rogers "In The Living Room" - Coldplay "The Karate Kid" - Myles Kennedy "Saving Face" Le journal de la musique : La cover : Fontaines D.C reprend "Wouldn't It Be Nice" des Beach Boys
Hoshi était l'invitée du #DriveRTL2 ce jeudi 17 octobre. La chanteuse a parlé de son actualité avec Eric Jean-Jean et a interprété en direct des studios de la station Pop-Rock son nouveau single "Tu vas me quitter encore longtemps ?" ainsi qu'une reprise traduite en français de Green Day "Wake Me Up When September Ends". Les classiques du jour : - Ten Years After "I'd Love to Change the World" - Naive New Beaters "Heal Tomorrow" Les nouveautés du jour : - Maggie Rogers "In The Living Room" - Coldplay "The Karate Kid" - Myles Kennedy "Saving Face" Le journal de la musique : - Liam Payne est décédé à 31 ans - Brian May a fait l'éloge de The Last Dinner Party - Paul McCartney pourrait chanter à l'occasion de la réouverture de Notre Dame de Paris La cover : Fontaines D.C reprend "Wouldn't It Be Nice" des Beach Boys
In this episode of Dem Vinyl Boyz, we dive into one of the most influential albums in music history—The Beach Boys’ Pet Sounds, released in 1966. Often regarded as a masterpiece, Pet Sounds redefined what a pop album could be, blending lush harmonies with complex production techniques and introspective lyrics that transcended the surf rock sound The Beach Boys were known for. Featuring timeless tracks like "Wouldn’t It Be Nice," "God Only Knows," and "Sloop John B," Pet Sounds captured Brian Wilson’s genius as a producer and songwriter. The album's orchestral arrangements and emotional depth set it apart, influencing countless musicians and marking a turning point in the evolution of popular music. In this episode, we’ll explore the making of Pet Sounds, discussing Brian Wilson’s innovative recording techniques, the challenges the band faced during production, and the album’s impact on the music industry. We’ll also reflect on how Pet Sounds continues to inspire artists across generations and remains a beloved album among fans. Join us on Dem Vinyl Boyz as we celebrate Pet Sounds, an album that pushed the boundaries of pop music and remains one of the most revered records of all time.
Send us a Text Message.Singles Going Around- Alive Volume OneCream- "I'm So Glad" (from Goodbye)Jimi Hendrix- "The Queen/Sergeant Peppers Lonely Heart Club Band" (from Hendrix In The West)Otis Redding- "Satisfaction" (from Live In Europe)Creedence Clearwater Revival- "The Night Time Is The Right Time" (from Live At Woodstock)Rolling Stones- "Midnight Rambler" ( from Get Yer Ya-Ya's Out)The Band- "The Shape I'm In" (from Rock Of Ages)The Byrds- "Lover Of The Bayou" (from Untitled)The Beach Boys- "Wouldn't It Be Nice" (from Beach Boys '69)The Doors- "Rock Me Baby" (from Paris Blues)Led Zeppelin- "Celebration Day" (from The Song Remains The Same)Chuck Berry- "Guitar Boogie/Let It Rock" (from Live In Detroit)Cream- "Crossroads" (from Wheels Of Fire)
THE 60s. August's Podcast Special. In this podcast Jerome delves into the rock, rhythm and blues music of the 60s. He takes a retrospective look at the 60s year by year and presents some of the big hits and influential albums. Playlist: Artist - Track. 1 The Who - My Generation 2 The Rolling Stones - Statisfaction. 3 The Electric Prunes - I had too much to dream last night. 4 Wilson Pickett - Land of 1000 dances. 5 The Beatles - Eleanor Rigby. 6 The Beach Boys - Wouldn't It Be Nice. 7The Beatles - Sgt Pepper's Lonely Hearts Club Band. 8 Iron Butterfly - Slayer in A Gadda da Vida. 9 The Who - Tommy. 10 The Doors - Light My Fire. 11 Fats Domino - Walking To New Orleans. 12 Buster Brown - Fannie Mae. 13 Bobby Lewis – Tossin' and Turnin'. 14 Ernie K Doe - Mother in Law. 15 Ray Charles - Hit the road Jack. 16 Acker Bilk - Stranger On The Shore. 17 King Curtis and The Noble Knights - Soul Twist. 18 Gene Chandler - Duke of Earl. 19 Little Johnny Taylor - Part Time Love. 20 Martha and the Vandellas - Heat Wave. 21 The Beatles - I Want To Hold Your Hand 22 Rufus Thomas - Jump Back. 23 Etta James - Loving You More Every Day. 24 Junior Walker & The All Stars – Shotgun. 25 Sam the Sham & The Pharaohs - Wooly Bully. 26 Bob Dylan - Like A Rolling Stone. 27 Bob Dylan - Rainy Day Woman. 28 Jimi Hendrix Experience - Burning of The Midnight Lamp. 29 Cream - White Room. 30 Johnny Winter - Hustled down in Texas. 31 Slim Harpo - Baby Scratch My Back. 32 Sam & Dave - Hold On. I'm A Comin'. 33 The Lovin' Spoonful - Summer in the City. 34 Jackie Wilson - Your Love keeps lifting me Higher and Higher. 35 Spencer Davis Group - Gimme Some Lovin'. 36 Otis Redding - The Dock Of The Bay. 37 Richie Havens - Freedom. 38 The Rolling Stones - Gimme Shelter. Size: 243 MB (255,653,912 bytes) Duration: 1:46:29
-It's a Bugaboo Tuesday….what's bothering Bill today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Wouldn't It Be Nice" - The Beach Boys (1966) - in Omaha on SaturdayShow sponsored by 1890 NEBRASKAAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
We're back from our bucolic getaway just outside the M25 between Guildford and Dorking. Did you miss us? This week: Wild women do, but - contrary to the received wisdom - they sometimes regret it. Also, some classy guests slum it with us - Quinn Shephard and Samir Mehta, creator and executive producer (respectively) of Hulu's acclaimed 'Under The Bridge', starring Riley Keough and Lily Gladstone.Wouldn't It Be Nice if you sent us an email? fuckoff@firecrotchandnormcore.comHelp Me Rhonda: https://www.patreon.com/THEYLIKETOWATCHGod Only Knows what we'd do without Annabel Port Hosted on Acast. See acast.com/privacy for more information.
The Richard Syrett Show, May 15th, 2024 HOW NATIONS ESCAPE POVERTY The miraculous transformation of two seemingly disparate nations —Poland and Vietnam— from socialist sinkholes of misery into vibrant, prosperous, opportunity-rich economies https://nations-escape-poverty.com Ranier Zitelman, German historian sociologist, multiple best-selling author whose books include: Hitler's National Socialism, The Power of Capitalism and In Defense of Capitalism.. His latest book is How Nations Escape Poverty. THE CULT OF CLIMATE CHANGE Twenty-one years into Australia's official permanent drought, drought is at an historical low. The press says Arizona has become too hot for people to live. Meanwhile...it is still snowing on May 11 and people are still skiing. Tony Heller, Founder of Real Climate Science dot com We should follow New Zealand on housing and free up more land for growth https://financialpost.com/opinion/canada-new-zealand-housing-free-up-land Wendell Cox – Senior Fellow with the Frontier Centre for Public Policy with expertise in housing affordability and municipal Policy https://fcpp.org/ OPEN LINES Mirrored image of King Charles' new portrait 'reveals face of Baphomet' https://www.wnd.com/2024/05/creepy-mirrored-image-king-charles-new-portrait-reveals-baphomet-face/ THIS WEEK IN ROCK HISTORY May 13th In 1967, The Monkees' second album, More of The Monkees, hit No.1 on the UK chart. Interestingly, there were only four albums that reached the top spot that year: The Sound of Music soundtrack, which spent 17 weeks at No.1, The Beatles' Sgt. Pepper's Lonely Hearts Club Band for 25 weeks, and The Monkees' first and second albums. May 13th In 1967, The Supremes scored their tenth No.1 single in the US with “The Happening,” the theme song to the 1967 film of the same name. It was the final single under the name “The Supremes,” as the group changed their name to “Diana Ross & The Supremes” before their next release. May 14th In 1988, Led Zeppelin reunited for Atlantic Records' 40th-anniversary party at Madison Square Garden, appearing with drummer Jason Bonham, who stood in for his late father, John Bonham. Their second reunion since splitting, the band's performance was disorganized and tense, as Jimmy Page and Robert Plant had argued about playing “Stairway to Heaven” prior to performing. Page described the appearance as “one big disappointment” and Plant agreed, noting that “the gig was foul.” Foreigner, Genesis, Ben E. King, and Wilson Pickett were among the other acts taking the stage. May 16th On this day in music, May 16, 1966, The Beach Boys released their 11th studio album, Pet Sounds. Written, produced, and arranged primarily by Brian Wilson, the album was revolutionary for a variety of reasons – including its broad use of instrumentation (including a synthesizer, theremin, bike bells, and even soda cans), as well as Wilson's ambitious production techniques, which found him turning the studio into an instrument itself. Featuring hits like “Wouldn't It Be Nice” and “God Only Knows,” the album was transformative within the music industry and within popular culture, influencing countless producers, engineers, songwriters, and musicians. Today, it is considered to be among one of the greatest albums of all time, while it was added to the National Recording Registry in 2004. Jeremiah Tittle, Co-Host of “The 500 with Josh Adam Myers” Podcast, CEO/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices
Dans une interview accordée au New York Times, Pete Townshend a été interrogé sur la possibilité que les Who arrivent avec de la nouveauté, soulignant que le groupe a sorti seulement deux albums depuis 1983, et la réponse semble catégorique. Selon le site Deadline Hollywood, la star du film ‘'The Bear'', Jeremy Allen White, serait pressentie pour incarner Bruce Springsteen dans ‘'Deliver Me From Nowhere'' un futur film sur l'élaboration de l'album ‘'Nebraska'', sorti en 1982. ‘'Surfin' U.S.A.", "Wouldn't It Be Nice", "Kokomo", tant de tubes qui ont fait le succès des Beach Boys et qui se retrouveront dans un documentaire prévu en streaming le 24 mai. Liam Gallagher s'impose une "discipline de fer" après des années à faire la fête, l'ancien membre d'Oasis veut désormais prioriser sa santé. Le Boss, Bruce Springsteen, devient le premier auteur-compositeur international à devenir membre de l'Ivors Academy pour sa "contribution exceptionnelle à l'art de la composition" et son impact sur le paysage culturel britannique. Les deux batteurs, Lars Ulrich (Metallica) et Chad Smith (Red Hot Chili Peppers), sont pressentis pour la suite de "Spinal Tap" et rejoignent un casting déjà bien complet avec Paul McCartney, Elton John, Questlove, Trisha Yearwood et Garth Brooks. Mots-Clés : AC/DC, identiques, groupe d'idées, Roger Daltrey, jeune, mythe, spectacle, avatar, acteur, favori, sortie, goûts, images, archive, inédit, témoignage, interview, Shut Down Vol.2, édition limitée, livre, édité, librairies, alcool, drogues, clope, britannique, question, hygiène de vie, musicien, Figaro, sobre, prix, cérémonie, Londres, récompense, américain, membre, Sir Paul McCartney, Kate Bush, Joan Armatrading, Sting, film, original, David St. Hubbins, Michael McKean, Derek Smalls, Harry Shearer, Nigel Tufnel, Christopher Guest), heavy metal, anglais, fictif, Deadline Hollywood, production, rôles. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
In this episode, Bill Bellows and host Andrew Stotz discuss seeing organizations as holograms—3D images. Holograms show all parts from different views at once. Learn how using the lens of the System of Profound Knowledge lets you see the problems and opportunities for transformation. TRANSCRIPT 0:00:02.5 Andrew Stotz: My name is Andrew Stotz, and I'll be your host as we continue our journey into the teachings of Dr. W. Edwards Deming. Today, I'm continuing my discussion with Bill Bellows, who has spent 30 years helping people apply Dr. Deming's ideas, to become aware of how their thinking is holding them back from their biggest opportunities. The topic for today, which we call Episode 18, is, Wouldn't It Be Nice? Bill take it away. 0:00:28.9 Bill Bellows: Wouldn't it be nice if [chuckle] we were older and we wouldn't have to wait so long? Okay. So Episode 18, greetings, Andrew. So as I mentioned in the past, I like to go back and listen to the past previous podcasts and as well as hear from people and their feedback on them. And I have a few points of clarity on the last one, and then we'll get into today's feature. So the last one which we refer to as Diffusion From a Point Source. And I talked about being in a bathtub, you start off at room temperature water and, or you fill the bath and you went and got distracted and came back, and now it's not warm enough, so you crank up, let's add some more water, and you feel that heat coming towards you from the... And then the diffusion equation is about how that, all the water ends up about the same temperature, and then you turn off the water and you drop back to room temperature. 0:01:41.1 BB: But another aspect of the point source that I wanted to clarify is, is if you have in the bathtub some, a source of energy, a heat source, which is not, you know, is different than the source of the water coming out of the faucet. But imagine you've got a little generator in there pumping out heat, then the bathtub, depending on the temperature of that, the amount of energy being released, then the bathtub is going to get warmer, warmer and warmer and warmer and warmer and warmer, and what keeps it going back to room temperature is how much energy is coming out of that. And that's what I was referring to as what it takes to maintain a transformation either individually within an organization, is something which continues to churn. Else you end up by the world we're in, you're watching the news, you're hearing about some accident and people are looking for the singular source, or they're looking at two points in a row, a downturn or upturn and looking at two data points to draw a conclusion. So there's all these everyday reminders of how, of the prevailing system of management at work in terms of how people are treated, how we manage systems. And our challenge is, how do you fight that? 0:03:14.7 BB: And so even within your organization, if you're trying to get people excited by Deming's works, what you have to appreciate is when they go home, the rest of their lives, they're being immersed in a culture of blame of individuals, not the system, and that's part of what we have to deal with. So I just want to mention that what I meant by that source term is, what does it take individually that we can do within our organizations to try to keep things going and not get sucked back down, knowing you've got all this normality around us that we're trying to move beyond. So the next thing I want to talk about is transformation. [chuckle] And then as that leads into, Wouldn't It Be Nice. And I was looking at The New Economics, my Kindle version, and found out that there were 73 references to transform in The New Economics, 73. And the first one is in the forward written by our good friend Kevin Cahill, and in there Kevin references, this is in the 3rd edition of The New Economics, which is the white cover if you have it in print. And it came out 2018. In there, Kevin references Out of the Crisis. And Kevin says, "The aim of the book," again, Out of the Crisis, "was clearly stated in the preface." 0:04:48.1 BB: This from Dr. Deming now, "The aim of this book is transformation of the style of American management, transformation of American style of management is not a job of reconstruction nor is it revision, it requires a whole new structure from foundation upward. The aim of this book is to supply the direction." Okay? Now back to Kevin, then Kevin says, "Out of the Crisis supplies direction for any and all types of organizations, while many people focused on its application in manufacturing, it was a call to action for every organization from education, to healthcare, to non-profits and startups of all sizes." Okay. So now we get to the preface for The New Economics. And so this is from Dr. Deming, what I just shared with you is Kevin quoting his grandfather. So now going back to 1993, the 1st edition, Dr. Deming said, "The route to transformation is what I call Profound Knowledge. The System of Profound Knowledge is composed of four parts all related to each other, appreciation for system, knowledge about variation, theory of knowledge, psychology. The aim of this book is to start the reader on the road to knowledge and to create a yearning for more knowledge." He adds to that, 0:06:07.3 BB: "What we need is cooperation and transformation... " there's that transformation word again. "To a new style of management, the route to transformation is what I call Profound Knowledge. The System of Profound Knowledge is composed of four parts all related to each other." And I'll just pause here and I, just thinking of a friend a couple years ago is inviting me to go to his company and do an in-house program. And he wanted to know how I would start the program, would I open up with the System of Profound Knowledge? I said, "No." I said I would build up to that, and he says, "Well, why not just start with it?" I said, "Because it's a solution to a problem you don't know you have." I said, "I would rather first give a sense of the nature..." now, and he said, "Well, how are we going to start?" And I said, "I'm going to start with the Trip Report, having people compare the ME versus the WE or the All Straw versus the Last Straw. And then use Profound Knowledge as a means by which to understand how you go from one to the other." I said, "But without that understanding of the problem we face... " again, it's an elegant... [chuckle] Every time, the System of Profound Knowledge is an elegant solution to a problem you don't know you have. So I look at it as, let's first create a sense of the problem/opportunity. Okay. 0:07:38.0 BB: So we're going to come back to transformation, but now I want to go back to the title, Wouldn't It Be Nice. And what I'll do is, when this is posted on the institute webpage, I'll put a link to an article I wrote in September, 2015 for the Lean Management Journal, entitled, Wouldn't It be nice. And that article includes in the opening, it says, "My appreciation of Brian Wilson on the Beach Boys has grown significantly in the past month," okay, and this was written in 2015, "after viewing the Brian Wilson Biopic “Love and Mercy," which for you, Andrew, and everyone listening, it's a fascinating, fascinating film. And it got me turned on to Brian Wilson and all these things about the Beach Boys I really underestimated. All right, so then I wrote, "Through this blast from my past, I was reminded of another Beach Boys classic, Wouldn't It Be Nice. And the yearning "wouldn't it be nice if we were older then we wouldn't have to wait so long." And then I closed the opening with, "And reflecting on this adolescent wishfulness, I propose a wishfulness that organizations, public and private and even governments, improve their understanding of variation in how it impacts the systems they design, they produce and they operate." 0:09:00.7 BB: And so when I was going back and looking at that, 'cause I was thinking about transformation in this article, and I thought the transformation I talked about last time was the transformation... We talked about the transformation going from an observer, me as a professor used a student, I'm an observer of your learning versus a participant, and that's just a systems perspective. What Dr. Deming is talking about is not just how we look at systems, but the transformation involves how we look at variation. Do we move past two data points and look at variation in the context of common causes and special causes? A transformation of how we engage people, do we engage them with carrots and sticks? Do we understand when we blame them as the willing workers, what that creates in our organizations? And then the last element of Profound Knowledge, theory of knowledge. How do we know that what we know is so? And so I was just looking back at that article, and the article was written about, what if we had a better understanding of variation as one element of a transformation? And what I wanted to highlight today is talk more about transformation, but also look at transformation from not just one aspect of the System of Profound Knowledge, all of them. 0:10:32.2 BB: And it may well be, we're going to need another episode to go through this. But the next topic I want to do as we go down this path. Some time ago somebody made reference to a hologram, and I have seen holographic pictures, and so I went back and I was trying to think, why did that strike me? What about this hologram got my attention? And I started to remind myself of it. And Kevin and I were in Idaho a few months ago meeting with an audience. And I was again reminded by this hologram thing, because people were saying, "How come people in operations are so antiquated?" And I said, "Well, it's not just operations, it's more than that." So first, holograms, so what is a hologram? So I found a dictionary definition. "It's a three-dimensional image produced by a pattern of interference produced by a split coherent beam of radiation, such as a laser." That's for the physicists in the room. 0:11:38.5 AS: I'm not sure if that helped me but... 0:11:40.6 BB: [laughter] But I also found on a website, the Institute for the Advancement of Service, and the website is, www.showanotherway.org. And there I found something I think it's a little bit easier to digest. And the text says, if you turn a photograph over and you see a blank white surface," so far so good. "A photograph shows the image only on the front, thus only from one side, a hologram is a three-dimensional image created by interacting light sources, it shows the same image from all angles regardless of how it's being viewed. When a hologram is divided into pieces, the text says, each part still contains the entire image within it, although each new image is from a slightly different perspective." And then, again, from this website, and this leads us into the transformation piece, is "how does a concept of a hologram apply to organizational structures?" And I thought, "Okay. Now we're getting some place." "Because when people come together, share a vision for an organization, each person has his or her own unique perspective of the whole." I said, "Okay." "Each shares responsibility for the whole, not just his or her piece, but the component pieces aren't identical, each represents the whole picture from a different point of view.” 0:13:08.0 BB: “When we add up the pieces, the image of the whole does not change fundamentally, but rather the image becomes more intense. When more people share the common vision, the vision may not change fundamentally, but it becomes more alive, more real in a sense of the mental reality that people can truly imagine achieving." And to me, what I say is, the role of the ME/WE Trip Report is in part to create a common mental model, a common 3D view of an organization. But depending on who you're talking with in an organization, they see only one aspect of it, they see what it means in finance, they see what it means in HR, they see what it means in, from engineering. And the beauty of, what I have found is, is when you look at organizations from Dr. Deming's perspective, we're able to appreciate that these views are different, but it is the same thing we're looking at. So the next thing I want to get into of the work we're doing at Rocketdyne, working harder in a ME organization at a non-Deming company, working harder is the mantra, working smarter, as you and I have talked about, is what does that mean? Think about things from a Deming perspective. What does that mean? So what you get is a lot of working harder. And in which case, you have KPIs and we're working harder to achieve these KPIs. 0:14:46.9 BB: Well, I was very fortunate, Rocketdyne in the mid '90s, the Air Force came up with a brand new program for a next generation rocket with a set of KPIs that a few of us believed were impossible. Now what's the relevance of that? As long as, my theory is, as long as a non-Deming organization can achieve the KPI in how it currently operates, then just get out of the way. And they will work harder, a lot of brute force will be done to meet those KPIs. And Dr. Deming would remind us, anyone can accomplish anything if they don't count the cost. So, I mean, it will destroy people's lives and marriages and all that, but as long as those KPIs are met, just get out of the way. Well, what I loved about the Air Force requirement, was I was convinced that it couldn't be met. And part of the challenge was to convince executives at Rocketdyne that we can't get there from here. And that then, what I thought was, "This is our moment." We, so again, if you're in an organization and everything can be done, how the organization currently operates, then I say try to find something that can't be done with the current system. It can't be done in the schedule, it can't be done at the cost, but if it can be done by the current system, then that's not your opening. But for us, it was the opening. So the Air Force in the mid '90s had a couple billion dollars to develop a next generation series of rockets. 0:16:30.7 BB: And so we're, nowadays we think of SpaceX launching rockets. Well, this is the mid '90s, which is 20 years or so before SpaceX. And so the requirement was, that everything in the entire rocket, everything in the entire rocket, that's a lot of parts including the engine. Everything had to meet requirements, everything had to be a White Bead, no Red Beads. In the past, if there were Red Beads, which the Air Force accepted, and we know you get Red Beads, we know how you get Red Beads. And if they have Red Beads, then you would get paid to repair them, extra. And a friend of mine who was the brainchild of the effort within the Air Force to eliminate the purchase of Red Beads, he said, "The entire rocket will not have Red Beads." And when I heard of that I thought, "ME organizations don't know how to do that." They just, all they know how to do is create Red Beads. And the strategy we had already developed was, if we look at the variation in the White Beads, as you and I have talked about, then that's a great means to prevent White Beads, Red Beads in the first place, let alone improve integration. So we started getting senior management on board with things we have done to explain to them, here's a strategy, as we heard this flow down from the Air Force. 0:18:04.6 BB: Well, the existing system, how bad it was, was... And I learned this from the brain, this Lieutenant Colonel in the Air Force who pushed this incredible KPI, which was, everything must meet requirements. And it translated to something called "No Material Review Board, where a material review board in the industry, in the aerospace industry, is a situation where you've got a Red Bead that may be a very expensive Red Bead that the contractor wants to sell the Air Force, but it doesn't meet requirements. And then the contractor gets together with the Air Force and they schmooze over it, and what Lieutenant Colonel Ciscel explained is, you've got the contractor that really wants to sell that, even though something is not quite right. And what makes it work for the Air Force is when the contractor says, "Well, the bad thing about not using this is, it's going to take a couple of months to have a new one." And that time delay starts to bug the Air Force. Next thing you know that white, that Red Bead starts to look pretty good. But worse than that, what Dave explained is, he said, it's like going to the car dealership and finding that beautiful car you want. Then I, the sales person, tell you, "Andrew, okay, we're going to have it for you tomorrow, all ready to go." 0:19:36.0 BB: And then you come back the next day and I say... And you say, "Well, where's my new car?" And I say, "Well, Andrew, I told you we were going to wash it and wax it. Yeah, well, when we put it through the car wash we scratched it." And you're like, "You scratched it." And I say, "Well, yeah but we buffed out that and we're only going to charge you a little bit more for that. We're going to charge you for this and this and this." And they said, "That's what the Air Force does." And so what he was pushing for in the mid '90s was to get rid of all of that inspired by, you're ready Andrew? Inspired by his undergraduate education that the Air Force paid for when he was an officer, and he learned about Dr. Deming's work on control charts. And so when I heard that I thought, "We've got a requirement that can't be met." This is the, this is our means, our opening for initiating a transformation. 'Cause working harder, convincing the executives was, we can't get there from here. But boy, if you can get there from here, get out of the way. So now I'm going to go back to chapter two of The New Economics. Dr. Deming says, "Somehow the theory for transformation that's been mostly applied in the shop floor, everyone knows about statistical control of quality, this is important, but the shop floor is only a small part of the total. Anyone could be a 100% successful." 0:20:54.1 BB: Well, what I want to share there in terms of the situation we were dealing with in the mid '90s, if we started to talk to the executives about statistical control of quality, control charts, common causes and special causes. Well, as soon as we started to talk about the process being "in control," to the majority of our executives that translated to "everything met requirements." And so our starting point was just for that, just what does "in control" mean? And it was just so amazing how that got translated to meets requirements. And we're like, "No, no, no. We need to have the process in control, understand common cause variation and control charts and, let alone being on target." But that was our starting point, was just trying to get these ideas across on the shop floor. And chapter three... I've got a couple of things from each chapter, at least from some of the opening chapters. We'll cover the rest later. Dr. Deming says in chapter three, "We saw in the last chapter that we are living under the tyranny of the revealing style of management. Most people imagine that this style has always existed, it is a fixture. Actually, it is a modern invention, a trap that has led us into decline. Transformation is required. Education and government, along with industry, are also in need of transformation. The System of Profound Knowledge to be introduced in the next chapter is a theory for transformation." 0:22:25.5 BB: And this is what we're trying to do with this NO MRB initiative, we are just trying to get executives to realize that if we keep doing what we're doing, we're not going to be able to achieve this goal. What I'll also say is, there was such a commercial demand for space at that time, that the Air Force didn't have to pay for the entire program. So they came in with a couple billion dollars. They asked the contractors to bring their money with the idea that these rockets would be used, like Elon Musk is using, for launching all these commercial satellites. So the Air Force excitement was, we can lay out these requirements of no Red Beads, but the reason we're going to make it work is, there's such a commercial demand for a military product. And so Dave referred to this, his push for everything must meet requirements. He called it a $2 billion ambush. And I said, "What do you mean by that?" He said, "I knew they couldn't achieve what we wanted without a transformation. And I knew they wouldn't... We knew they wanted the money. But we knew they couldn't do it without a transformation." And I was like, "Oh, that's ingenious. That is just ingenious." And he so loved what we were doing at Rocketdyne, when he retired from the Air Force, as the program was transitioning from one phase to another, he retired and came to work at Rocketdyne. And he became a huge asset for our efforts to initiate a transformation. 0:24:06.1 BB: Then Dr. Deming says, "The transformation affects family life. Parents who will not rank their children nor show special favors or rewards. Would parents wish for one child to be a loser? Would his brothers and sisters be happy to have a loser in the family? Transform the family will be a living demonstration of cooperation in the form of mutual support, love and respect." At home, Andrew, at home. All right, "The prevailing style of management must undergo a transformation, the system cannot understand itself. The transformation requires an outside view." This is chapter four. And then "The aim of this chapter is to provide a lens, an outside view, a lens that I call a System of Profound Knowledge." Well, here I want to get into the hologram. And this, so I was... Kevin and I were at a Idaho Manufacturing Alliance conference right after Thanksgiving. And we had a session with some people. And in one group I was working with, they said, "Why is that engineering just doesn't get it? It always seems to be engineering. It's always engineering." And I said, "No." I said, "Each part of the organization has their own... " And I tried to explain to them, they each fall into a different trap, but the traps are very similar. 0:25:27.6 BB: I said, "So engineering sets the requirements on each part, they create the silos. Manufacturing then runs off with those instructions and produces the parts as if they're separate, quality then inspects them, finance adds up the savings, adds up the cost." And I don't know to what degree we've discussed this yet, but addition is the belief, adding up the savings comes from a belief that these elements are separate, that if we save $10 here, save $10 here and $10 there, then as an organization we save $30. No, the savings only happen... You only get a $30 savings if those activities don't interfere with one another. So I explained to them, finance has issues. And then HR, they're the ones behind performance appraisals. And that's where this hologram thing came to mind, is that each of them might think, as they get exposed to Deming's work, that we got this figured out. But it's all of them required to tie together to transform the organization. And then more from chapter 4, the transformation. "The first step is transformation of the individual. Transformation is discontinuous. It comes from understanding of the System of Profound Knowledge. The individual transformed will perceive new meaning to his life, through numerous interactions between people. Once the individual understands the System of Profound Knowledge, he'll apply its principles in every kind of relationship." There's Siri. [chuckle] 0:27:13.6 BB: "Once the individual understands the System of Profound Knowledge, he'll apply its principles in every kind of relationship with others. He'll have a basis for judging his own decisions and transformation of the organizations that he belongs to. The individual, once transformed," this is what we talked about last time. I said, "No. The individual, once the transformation begins...will set an example, be a good listener, but not compromise. Continually teach others, help people pull away from their current practice and beliefs and move into the new philosophy without guilt about the past." And here I just want to add. A person I was mentoring three or four years ago, and she went through a one-day program I was leading, and I then started to mentor her on a regular basis. And one of the first calls we had, she was distraught over looking at herself as being incredibly selfish. She said, "The way I treated my siblings, the way I treated my classmates when I was in college." she said, "It was all about me." And I said, so I showed her this, I said, "You have to move into the new philosophy without guilt about the past." I said, "I used to think I caused the grades all by myself," I said, "We each go through this transformation differently with this bit of... " I mean 'cause we're brought up in a world thinking that we caused the grades and all these other things, and I said, "You got to move past that." And I'm not saying it's easy. 0:28:41.5 AS: Well, we did the best we could with what we had at the time, I always like to remind myself... 0:28:45.1 BB: That's right. 0:28:45.4 AS: Myself that. 0:28:48.2 BB: So a couple of other things, then I'm going to... Then I'll just pause, we can close. But what I would tell the executives early, early on, we had from the Air Force this major program, a whole lot of money at Rocketdyne, we were developing the engines. McDonnell Douglas was acquired by Boeing. They got the contract for the vehicle. So eventually we were all under Boeing, and it was really, really cool to be able to get the engine people smart about all the things we're talking about in these calls, and then the vehicle people excited. And then there was a production schedule. We're going to ship the first vehicle X years out, and then it's going to go from a couple a month to a lot a month on and on. And one of the things I would tell the executives, if you want to know every day, how are we doing every day. So you want to know if we're making progress as an organization. So I just gave them a couple of visuals. And I said, "One thing you get... " 'Cause there's one thing, "Well, how are we doing, how are we doing?" I said, "Well, let me tell you what you can measure." I said, "Every time you walk into the restroom, count how many paper towels are on the floor next to the trash can, that can't quite get into the trash can, and let that be a measure of how we're doing on the shop floor in our ability to not deliver Red Beads." 0:30:15.7 BB: And that then becomes an everyday reminder within our respective organizations is, we can't get the trash into the trash can, we can't leave the conference room as we found it, we can't get rid of the science experiments in the refrigerators. And I don't know if I mentioned it to you, but one experiment I would have people do when they would come to class at Rocketdyne, visitors and whatnot. During a break, they need an escort to walk to the restroom a few minutes away, and I'd say to them, "Here, run an experiment to how we're doing as an organization." I said, "Take your empty cup of coffee and put it on top of a file cabinet somewhere between here and the restroom, and then see if it's still there during the next break. Or crumble a piece of paper, put it on the floor, and see how many people walk past that." And I just throw that out as everyday things people can do to get kind of a finger of the pulse. As you're trying to transform your organization one person at a time, what are the things you can look for in the organization, long before we're focusing on common causes versus special causes. What are we doing with performance appraisals? Are we looking at things in the system? There's a bunch of everyday indicators you could start to look at with a sense of, this is a hologram. 0:31:51.8 AS: So we started this off with wouldn't it be nice? And we've been through a lot of different topics in relation to that, how would you summarize the key takeaway that someone can now bring to their business or their life in relation to this topic? 0:32:08.4 BB: Well, let me, and I got some bullet points on the holograms and then the close from the article that I wrote for the Lean Management Journal. And from the hologram, holographic model from the showanotherway.org website, it says, "What do we need to be mindful of when working with this holographic model?" It said "in this model, we need to be aware of the whole, with the parts, their relationships, and the context." Okay? So that's, part of this transformation is keep looking at things and try to imagine what's the greater context for these decisions. That one part of the organization reflects the philosophy of the whole organization. So the idea that, stop thinking that it's just those people in operations that don't get it. Each part of the organization has taken the prevailing system of management and put it into their DNA. So it's everywhere, that members of the organization reflect the whole of the organization and their behaviors. And the idea is, how do we get them to think about the whole? And I think a lot of progress can be made just by sharing with people a common... Having them reveal their appreciation of the contrast between ME and WE organizations, and they'll be pretty obvious where they'd rather work. 0:33:41.3 BB: And then the, what I closed the Brian Wilson article for the Lean Management Journal with is, "wouldn't it be nice if we manage the variation in the parts as being the parts of a system. In the spirit of Brian Wilson's adolescent wishfulness, wouldn't it be nice if the great illusion of independent parts and components modules was replaced by the realism of unity and interconnectedness in amazing prospects for teamwork within any organization." And I think that's a nice way of talking about transformation, not just looking at systems, but understanding people, psychology, and the theory of knowledge. 0:34:25.1 AS: Well, that's a great place to wrap. Bill on behalf of everyone at the Deming Institute, I want to thank you again for this discussion. And for listeners, remember to go to deming.org to continue your journey. And if you want to keep in touch with Bill, just find him on LinkedIn. This is your host, Andrew Stotz, and I'll leave you with one of my favorite quotes from Dr. Deming. And people wonder, why do I repeat the same quote over and over again. Try to get it through our thick heads that people are entitled to joy in work.
In the Wee Small Hours is often considered Sinatra's best work and arguably the first concept album. The "concept" is something along the lines of “I am awake at 3am and I am feeling deeply sad about a lost love.” And that's really it. Just when you think there couldn't possibly be any more songs about the nuances of that kind of misery, there are seven more. It's relentless, it's brutal, it borders on self-harm and it changed the way we all listen to albums forever. So many emotions, such beautiful music, so much history, such an enormous legacy. And yet, what is there to say? Sometimes it's best just to listen - not just to Sinatra, but to the people out there in the world, all with their own problems, who heard this and felt something. Selected resources: * Woody Guthrie - Dustbowl Ballads (1940) (featured: "Dust Cain't Kill Me") * Gordon Jenkins - Seven Dreams (1953) (featured: "The Cocktail Party (The Fourth Dream)") * The Beach Boys - Pet Sounds (1967) (featured: "Wouldn't It Be Nice", "That's Not Me", "Caroline, No") * Paul Kelly - How to Make Gravy (autobiography, 2010) * Jane Russell & Hoagy Carmichael - "I Get Along Without You Very Well" (from Las Vegas Story, 1952) * Bob Crosby and His Orchestra (with Marion Mann, vocal) - "Deep in a Dream" (1938) * Laurie Anderson - "Smoke Rings" (from Home of the Brave, 1986) * The Berlin Patient (podcast hosted by Joel White, 2016-17) (Complete series available on YouTube and Internet Archive) * Sophie Calle - Take Care of Yourself (book and art project, 2007) * Nick Hornby - High Fidelity (novel, 1995) * Marian McPartland Trio - "This Love of Mine" (from self-titled album, 1956) Special thanks to W.M. Akers. contact: suddenlypod at gmail dot com website: suddenlypod.gay donate: ko-fi.com/suddenlypod
Taylor Swift: the Perfect Avatar For Westerm, Consumer-Driven, Self-Obsessed, Self-Absorbed Society I The Carnage Continues While The World Averts Its Eyes From Gaza I Calling a Spade a Spade I Wouldn't It Be Nice? I Centralised & Decentralised Energy Systems: Repeating The Same Mistakes I War Criminal Next Indonesian President?
Episódio originalmente publicado em 30/12/2012. No 72º episódio do Podcast mais Rock'n Roll da internet Rômulo Konzen, Daniel Iserhard, Christian Heit e Douglas Renner batem papo sobre os principais acontecimentos de 2012 no mundo do Rock. Trilha sonora do podcast (na ordem): *Dick Dale – Misirlou *The Beach Boys - Surfin U.S.A. *The Eagles - Hotel California *Sublime – Santeria *Dire Straits - Sultans Of Swing *The Beach Boys - Surfin Safari *Pixies - Here Comes Your Man *Beatles – Boys *The Beach Boys - Wouldn't It Be Nice
Umsjón: Siggi Gunnars & Lovísa Rut Siggi Gunnars og Lovísa Rut voru landamæraverðir í Popplandi. Nýtt frá LÓN, Valdísi, James Blake og fleirum. Plata vikunnar kynnt til leiks, platan Óskalögin Mín sem Jóhanna Guðrún var að senda frá sér, afmælisbörn dagsins heiðruð og þessar helstu tónlistarfréttir. Laufey - Just Like Chet. Egill Ólafsson - Bara rólegan æsing. MUGISON - Stóra stóra ást. Avicii, Carlsson, Agnes, Vargas and Lagola - Tough Love. RADIOHEAD - No Surprises. THE BEACH BOYS - Wouldn't It Be Nice. THE BAMBOOS - Ex-Files. BRÍET & ÁSGEIR - Venus. SUPERSERIOUS - Bye Bye Honey. CHRISTINE AND THE QUEENS - A day in the Water. PATRi!K & LUIGI - Skína. Klemens Hannigan - Step by step. Jóhanna Guðrún Jónsdóttir Söngkona - Síðan hittumst við aftur. Bubbi Morthens - Er Nauðsynlegt Að Skjóta Þá?. YOUSSOU N?DOUR & NENEH CHERRY - 7 Seconds. SIGRID - The Hype. QUEENS OF THE STONE AGE - Paper Machete. ÁRNÝ MARGRÉT - I went outside. SIXPENCE NON THE RICHER - There She Goes. PEGGY GOU - (It Goes Like) Nanana. VALDIS - Let's Get Lost Tonight. CAROLINE POLACHECK - Smoke. LADY BLACKBIRD - Baby I Just Don't. BEYONCÉ - CUFF IT. BEYONCE - Formation. FLORENCE AND THE MACHINE - Shake it Out. JAMES BLAKE - Loading. TRACY CHAPMAN - Fast car. ELÍN HALL - Rauðir draumar. The Revivalists - Wish I knew you. Croce, Jim - Tomorrow's Gonna Be a Brighter Day. Moses Hightower - Stundum. Jungle - Dominoes. THE CLASH - Should I Stay Or Should I Go. ARLO PARKS - Devotion. Una Torfadóttir - Þú ert stormur (Pride lagið 2023). DIDO - Thank You. Margrét Lilja Davíðsdóttir, Jóhanna Guðrún Jónsdóttir Söngkona - Best í heimi. HJÁLMAR & GDRN - Upp á rönd. LÓN - Cold Crisp Air. MYRKVI - Early Warning. MARK RONSON - The Bike Song feat. -Kyle Falconer and Spank Rock. NIA ARCHIVES - Conveniency. Sir Woman - Highroad. RAGGA GÍSLA & BESTA BAND - Úpsí búpsí.
Umsjón: Siggi Gunnars & Lovísa Rut Siggi Gunnars og Lovísa Rut voru landamæraverðir í Popplandi. Nýtt frá LÓN, Valdísi, James Blake og fleirum. Plata vikunnar kynnt til leiks, platan Óskalögin Mín sem Jóhanna Guðrún var að senda frá sér, afmælisbörn dagsins heiðruð og þessar helstu tónlistarfréttir. Laufey - Just Like Chet. Egill Ólafsson - Bara rólegan æsing. MUGISON - Stóra stóra ást. Avicii, Carlsson, Agnes, Vargas and Lagola - Tough Love. RADIOHEAD - No Surprises. THE BEACH BOYS - Wouldn't It Be Nice. THE BAMBOOS - Ex-Files. BRÍET & ÁSGEIR - Venus. SUPERSERIOUS - Bye Bye Honey. CHRISTINE AND THE QUEENS - A day in the Water. PATRi!K & LUIGI - Skína. Klemens Hannigan - Step by step. Jóhanna Guðrún Jónsdóttir Söngkona - Síðan hittumst við aftur. Bubbi Morthens - Er Nauðsynlegt Að Skjóta Þá?. YOUSSOU N?DOUR & NENEH CHERRY - 7 Seconds. SIGRID - The Hype. QUEENS OF THE STONE AGE - Paper Machete. ÁRNÝ MARGRÉT - I went outside. SIXPENCE NON THE RICHER - There She Goes. PEGGY GOU - (It Goes Like) Nanana. VALDIS - Let's Get Lost Tonight. CAROLINE POLACHECK - Smoke. LADY BLACKBIRD - Baby I Just Don't. BEYONCÉ - CUFF IT. BEYONCE - Formation. FLORENCE AND THE MACHINE - Shake it Out. JAMES BLAKE - Loading. TRACY CHAPMAN - Fast car. ELÍN HALL - Rauðir draumar. The Revivalists - Wish I knew you. Croce, Jim - Tomorrow's Gonna Be a Brighter Day. Moses Hightower - Stundum. Jungle - Dominoes. THE CLASH - Should I Stay Or Should I Go. ARLO PARKS - Devotion. Una Torfadóttir - Þú ert stormur (Pride lagið 2023). DIDO - Thank You. Margrét Lilja Davíðsdóttir, Jóhanna Guðrún Jónsdóttir Söngkona - Best í heimi. HJÁLMAR & GDRN - Upp á rönd. LÓN - Cold Crisp Air. MYRKVI - Early Warning. MARK RONSON - The Bike Song feat. -Kyle Falconer and Spank Rock. NIA ARCHIVES - Conveniency. Sir Woman - Highroad. RAGGA GÍSLA & BESTA BAND - Úpsí búpsí.
This week on Classic Vinyl Podcast, Justin and Tyler listen to and review The Beach Boys 11th studio album Pet Sounds. Considered by many to be one of the best albums of all time, with hits like Wouldn't It Be Nice, Sloop John B, and God Only Knows, where do you think this album stands? Classic Vinyl Podcast Website https://classicvinlylpodcast.podbean.com/ Support our podcast and buy us a beer https://www.buymeacoffee.com/classicvinylpod
O nosso tema hoje mais uma vez são as perguntas, trazendo 14 músicas que tem uma questão no título: - Lotte Kestner - Do You Realize? - Anthonys Garden - Does Anybody Know? - Saint Etienne - Wouldn't It Be Nice? - Bahamas Featuring The Weather Station - Don't You Want Me? - Thomas Dybdahl - Can I Have It All? - The Radio Dept. - Could You be the One? - Badly Drawn Boy - Do They Know It's Christmas? - Mr. and Mrs. Muffins feat. Alessandra Rose - Do You Wanna Dance? - FKJ - Why Are There Boundaries? - Lily Allen - Who'd Have Known? (Acoustic Version)- Tkay Maidza - Where Is My Mind? - Allen Stone - Is This Love? (Sirius XM / The Spectrum Version) - Everything But The Girl - Will You Still Love Me Tomorrow? - KT Tunstall - Should I Stay Or Should I Go?
El profesor de inglés, traductor, músico y agitador cultural Philip MacConnell nos invita a sumergirnos en las letras de canciones famosas. En esta ocasión repasa canciones sobre preguntas. Suenan Tom Jones (What's New Pussycat?), The Clash (Should I Stay or Should I Go?), Peter Sarstedt (Where Do You Go To), Bee Gees (How Deep Is Your Love), The Who (Who Are You), Beach Boys (Wouldn't It Be Nice).
Link to schedule an introductory call for Highly Promotable: https://calendly.com/lesaedwards/highly-promotable-introductory-call With so many people job searching right now, I wanted to do a deep dive on a particular aspect of the job search. But first, let me set the stage. When it comes to networking, many of you engage in what I call “The Tommy Gun Approach” – spray everyone you can think of with the information about what you are looking for, followed by “If you think of anything, let me know.” While there's nothing wrong with this approach, a more effective tool is what I call “The Bow-and-Arrow Approach.” This is a more strategic approach to networking that begins with the end in mind. For some reason, I always think of the Wizard of Oz here…you know you want to get to the wizard, so what's the first step you need to take to get to him? In Bow-and-Arrow networking, you are setting up strategic meetings with people who can get you successively closer to the decision maker…The Wizard. This Bow-and-Arrow approach starts with you knowing where you want to work. I've talked in previous episodes about how to profile your ideal employer, so I won't go into detail here, other than to say it is SO important that you know what you are looking for in your ideal company. Otherwise, how will you know if you've found it? What might be important to you in a company?-Location/Commute-Size-Number of employees-Revenue-Product or service-Mission-Reputation-Culture And there are many others. You won't likely find a company that meets your criteria for everything, so you want to select your top 3-5; I call these your non-negotiables. Everything else is just gravy – or, as I call them, Wouldn't It Be Nice. Once you've identified your non-negotiables, your next step is to create a list of about 25 employers that MIGHT meet your criteria. I say MIGHT because, at this point, you haven't done in-depth research on these companies yet. Meaning: If you think they MIGHT be a fit, put them on your list. If you KNOW they don't mesh with one of your non-negotiables, DON'T put them on your list. How do you come up with this list?-Top-of-mind-Where friends/family work-In the news (for positive reasons)-Competitors-Chamber of Commerce directory-Google-Who's in hiring mode? (check things like LI) Once you've created an initial list of about 25 employers, now it is time to do more in-depth research to narrow your list down to about 10-12 Ideal Employers. I recommend you create a rating system using your top 3-5 criteria – you can do this in Excel or whatever way works best for you. Your next step is to create “tiers” within your 10-12 Ideal Employers. Look for natural demarcations or just put an even number of companies in each of three tiers – it's up to you. You also get to decide how you will approach each tier. For example, you might choose to find three contacts who are connected to each of your Top Tier employers and try to set up face-to-face meetings. For your second tier, you might choose to find one contact for each. For your third tier, you might choose to keep an eye on them, look for openings, and watch out for news about the company that would either move them up or out of your list. With at least your top tier, you then want to figure out how to get your foot in the door with each company. Who do you know who works there AND knows the decision maker? Who do you know who either works there OR knows the decision maker? Who do you know that knows a lot of people? (I call these people Centers of Influence) This is where you begin speaking with people. Remember, until you reach the decision maker, you aren't asking anyone to give you a job – you are asking for an introduction. Do your homework on LI before the meeting and have a specific ask – this gives the other person some concrete way to help you AND gives you something specific to follow up on. Are you wondering why your job search hasn't been as successful as you expected? Grab a copy of “Five Things Derailing Your Job Search” here: https://bit.ly/6thingsderailingjobsearch
Chris and Christo meet Rose Manuli to talk about her queer journey, acting career and her stories involving teachers. Rose's socials: Facebook - https://www.facebook.com/RoseManuliArtist?notif_id=1683964207617818¬if_t=follow_profile&ref=notif Instagram - https://www.instagram.com/_rose_manuli_/ YouTube - https://www.youtube.com/@rosemanuli5389 Spotify - https://open.spotify.com/artist/4yuEfWAPJTEKlY1GoEfryz Check out her music videos: Next To Me - https://www.youtube.com/watch?v=_KJ2falTGuc Wouldn't It Be Nice - https://www.youtube.com/watch?v=EelCEvNnUsc Check out our episode on WA Exposé - https://open.spotify.com/episode/1WmA98WdwLetESDYItZhsP?si=yomGA3PcRSO-_rQsK42akA. Don't forget to like and follow us on Facebook, Instagram, TikTok and YouTube @queerstoriesontheswan Tell your friends about us! Queer Stories On The Swan is part of the Queer Perth Network. --- Send in a voice message: https://podcasters.spotify.com/pod/show/queer-stories-on-the-swan/message
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)
Follow @foobarshow Episode 283 - Doug Brode (1:30) The Foos talk about Josh's coaching AYSO soccer adventures. -Josh asks if Pheonix is America's sphincter (17:46) Geeking Out: -Doug Brode, author of The Ship and its recently released sequel The Ship's Revenge, joins in to talk about his life, influences, and different projects that he's worked on like Star Trek, Thor, Sudio 666, and was also the creator of Forbidden Science on Cinemax in 2009. (1:26:18) Music Highlights: -Part of the Band by The 1975 -Wouldn't It Be Nice by The Beach Boys -I'm a Man by Michelle Branch Give us a 5-star positive review on Apple Podcasts! Get your Foobar Show merch at foobarshow.com SUPPORT OUR SPONSORS -ALF Live Events for all of your live audio/visual needs at alflei.com -Get 30% off on Grassdoor by clicking through our banner on our website. -Check out The Fallen Electric at thefallenelectric.com & @thefallenelectric for music, news, and merch! --- Send in a voice message: https://anchor.fm/the-foobar-show/message Support this podcast: https://anchor.fm/the-foobar-show/support
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --
Kasabian comparte nueva canción de su nuevo disco, 'Chemicals', adelanto que habla del momento en el que la banda tuvo que echar a Tom Meigham, según cuenta Serge Pizzorno. Escuchamos lo nuevo de Remi Wolf, de Nikke Lane -con la producción de Josh Homme- y de Jungle ST VINCENT - Funckytown PHOENIX – Alpha Zulu JUNGLE – Problemz NIKKI LANE - First High THE DANDY WARHOLS – Bohemian Like You LEÓN BENAVENTE – Canciones Para No Dormir HERMANA FURIA – Dame Vida MUSE – Will Of The People LIAM GALLAGHER – Wave THE ROLLING STONES – I Miss You LUZ CASAL – No Me Importa Nada RUBÉN POZO – Me Pareces Increíble KASABIAN - Chemicals DORIAN ft PIMP FLACO – Dual REMI WOLF - Cake THE MOUNTAIN GOATS - Training Montage SHE & HIM- Wouldn’t It Be Nice Escuchar audio
LUZ CASAL – Pedazo de Cielo THE ROLLING STONES – Sympathy For The Devil LIAM GALLAGHER - Wave RUBÉN POZO – Me Pareces Increble Joe SHE & HIM- Wouldn’t It Be Nice LOS ESTANQUES y ANNI B SWEET – Caballitos de Mar PABLOPABLO – Mandela Place ALFIE TEMPLEMAN – Folding Mountains JUNGLE - Good Times (Tucan mix04) THE KOOKS – Ooh La PHOENIX – Alpha Zulu WALLIS BIRD - I Lose Myself Completely NATION OF LANGUAGE – androgynous CALVIN HARRIS, DUA LIPA, YOUNG THUG – Potion YEARS & YEARS - Consequences VIVA SUECIA ft LEIVA – Justo Cuando El Mundo Apriete GINEBRAS – Alex Turner Escuchar audio
Lots of great tunes and good vibes on this Catching A Wave! We've got a trio of tunes with the word "without" in the title from Cayucas, The Hondells and McKinley James. The Wheel Of Fun, Fun, Fun returns with covers of The Beach Boys by Papa Doo Run Run, The Challengers and The Weeklings. Beth Riley also has a deep track from The Beach Boys that will make you flip a coin...and we drop that coin in the Jammin' James Jukebox to hear our selection of the week! Speaking of The Beach Boys earlier, we hear a newly remastered mix of "Good Vibrations" plus rockin' tunes from The Delstroyers, Secret Agent, Lee Hazlewood's Woodchucks, Garner Firebird, Shorty's Swingin' Coconuts, Webb Wilder, Toro Jones, Stories From Shamehill as well as Evan Foster and Wave Electric from the new Surf You Next Tuesday 2 The Revenge compilation! Intro music bed: "Catch A Wave"- The Beach Boys The Delstroyers- "Zomb Zomb" Stories From Shamehill- "Flatten The Curb" Secret Agent- "Honeytrap" Webb Wilder- "Rocket To Nowhere" Toro Jones- "Low Tide" Trio of "Without" tunes: Cayucas- "Lonely Without You" The Hondells- "The Rebel (Without A Cause)" McKinley James- "I Can't Live Without You" Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Heads You Win, Tails I Lose" Follow "Surf's Up: Beth's Beach Boys Break" HERE Lee Hazlewood's Woodchucks- "The Man" Wave Electric- "Moon Surfing" Evan Foster- "Surfer's Anthem" Wheel Of Fun, Fun, Fun: Papa Doo Run Run- "Wouldn't It Be Nice" (with Mike Love and Jeffrey Foskett) The Challengers- "Surfin' Safari" The Weeklings- "Help Me Rhonda" Jammin' James Jukebox selection of the week: The Ventures- "Pedal Pusher" Garner Firebird- "Zero To Sixty" The Beach Boys- "Good Vibrations" (2022 stereo mix & master) Shorty's Swingin' Coconuts- "Raunchy Twist" Outro music bed: The Ventures- "(I Can't Get No) Satisfaction"
And here are your finalists for The Greatest Song of the 60's!!1. I Saw Her Standing There by The Beatles2. Wouldn't It Be Nice by The Beach Boys3. Hey Jude by The Beatles4. Fortunate Son by Creedence Clearwater RevivalVote on your favorite of "The Greatest Songs of the 60's" finalists
#65-61Intro/Outro: You Keep Me Hangin' On by The Supremes65. Mr. Tambourine Man by The Byrds *64. You've Lost That Lovin' Feeling by The Righteous Brothers *63. In My Life by The Beatles *62. I'm Waiting For the Man by The Velvet Underground *61. Wouldn't It Be Nice by The Beach Boys *Vote on your favorite song from today's episodeVote on your favorite song from Week 1Vote on your favorite of "The Greatest Songs of the 50's" finalists* - Previously played on the podcast
Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. 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 "Sunny" by Bobby Hebb. 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 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. 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. 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. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds. I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose). You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death. Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly, because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]
Wouldn't It Be Nice if we talked about Pet Sounds by the Beach Boys? Yes, it would, so we did. This album is full of surf-adjascent psychedelic pop, with the kind of mid-60s charm that only Brian Wilson can capture. James and Connor will get into the disastrous album cover shoot, the band's famous members and friends, and Connor might even dislike a ballad or two! We'll tell you about the real-life Sloop John B., all the wacky instruments they used to make the record, and we've got pigeon updates (for some reason)! God Only Knows what we'd be without you..Keep Spinning at www.SpinItPod.com !Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.
#43-41Intro: Post by Andrew MayOutro: Gonio by Andrew May43. Pet Sounds by The Beach Boys (Wouldn't It Be Nice & God Only Knows & Don't Talk (Put Your Head on My Shoulder) & Sloop John B & Caroline, No)42. Blurryface by twenty one pilots (Stressed Out & Ride & Fairly Local & The Judge & Not Today)41. Cracked Rear View by Hootie & the Blowfish (Cracked Rear View - Andrew's Mix)Vote on Today's Album ArtVote on Week 13 Round 2 Album Art (Episodes 361-365)Vote on Weeks 9-12 Round 3 Album Art (Episodes 341-360)Decade update:00's - 5990's - 3910's - 3770's - 2760's - 2680's - 1450's - 320's - 240's - 230's - 1Top years:2007 - 132011, 2012 - 91967 - 8After 210 albums, we have heard songs from albums released every year from 1962-2021, except for the following 8 years: 1974, 1980, 1983, 1985, 1989, 2016, 2017, 2018. Over the next 8 episodes, I will be searching for a great song off of an album that I like from those 8 years to serve as our intro song.
Ramsey Lewis – The Shape Of My Heart – 5:31 Sietse Huisman – What the Funk – 4:00 Lee Ritenour – Dreamcatcher – 4:22 Boudewijn Lucas; Erwin Hoorweg; Martin Verdonk; Shirma Rouse; Kim Hoorweg – A Place Called Home – 4:14 Marcus Johnson – Wouldn’t It Be Nice – 5:42 Paul van Kemenade; Jasper Van […]
Pop Rock Time "The Greatest Pop Rock Hits of all Time" avec JIHEM #245 Part 01. 11-Angels and Airwaves - Anxiety #2011 12-Sueco feat Arizona Zervas - Sober Hungover #2021 13-Tracy Chapman - Fast Car #1988 14-Peach Tree Rascals - Song From Hell #2021 Part 02. 21-Thomas Headon - Strawberry Kisses #2021 22-First Aid Kit - My Silver Lining #2014 23-Beach Bunny - Oxygen #2021 24-AC DC - TNT #1975 Part 03. 31-Greta Van Fleet - Built By Nations #2021 32-Green Day - Holy Toledo! #2021 33-Scorpions - Peacemaker #2021 34-The Bee Gees - Lay It On Me #1971 Part 04. 41-Geyster - Regarde Toi #2007 42-Conan Gray - Telepath #2021 43-Maggie Lindemann - She Knows It #2021 44-The Beach Boys - Wouldn't It Be Nice #1966
We hear the #1 song in our Top 5 Favorite Songs Of The Beach Boys Countdown as voted on by YOU! It was a tight race and over 50 songs were submitted as your favorites. We also hear a deep track by The Beach Boys from Beth Riley in her Surf's Up: Beth's Beach Boys Break and a tune from their latest Feel Flows boxset later on the show as well. We've got a trio of tunes from artists/bands with a color in their name (Junior Brown, The Green Reflectors and Blue Stingrays) as well as rockers from Surfer Joe, Los Twang Marvels, Greg Townson, The Surfaris, Jason Lee & The R.I.P.Tides, Shoot The Pier, The Explorers Club, Jason Janik, Slacktone, The Rip Chords and Blackball Bandits!! Intro music bed: "Catch A Wave"- The Beach Boys Jason Janik- "Light'em Up" The Explorers Club- "Say You Will" Blackball Bandits- "Night Rider" The Rip Chords- "Surfin' Craze" *Spongebob snippet Greg Townson- "Aztec" (feat. Yolanda Marvel) "Color" theme artist/band: Blue Stingrays- "Green Sea" Junior Brown- "Rock-A-Hula Baby" The Green Reflectors- "Crypt Kicker" Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Pitter Patter" Follow "Surf's Up: Beth's Beach Boys Break" HERE Slacktone- "Blast Bolero" Surfer Joe- "Coil Burner" Jason Lee & The R.I.P.Tides- "Pain Killer" Shoot The Pier- "Hallucinations" Top 5 countdown of YOUR favorite songs by The Beach Boys: #1 The Beach Boys- "Wouldn't It Be Nice" Jammin' James Jukebox selection of the week: Legendary Masked Surfers- "Gonna Hustle You" Los Twang Marvels- "Guitars In Orbit" The Beach Boys- "Seasons In The Sun" Outro Music Bed: Eddie Angel- "Deuces Wild"
Celebrating their 50th, includes Do It Again, Little Honda, Heroes and Villians, Sail On Sailor, Surfin' Safari, Surfer Girl, Sloop John B, Wouldn't It Be Nice, California Girls, Help Me Ronda, Surfin USA, Kokomo, I Get Around, Little Deuce Coupe, 409, Barbara Ann, Fun Fun Fun, and Good Vibrations
#20-16Intro/Outro: Old Town Road by Lil Nas X20. Wouldn't It Be Nice by The Beach Boys (4)19. Mr. Jones by Counting Crows (2)18. Maybe I'm Amazed by Paul McCartney (4)17. The Miracle (of Joey Ramone) by U2 (4)16. The Middle by Jimmy Eat WorldBalderdash #32 answerBonus excerpt: Old Frame Show by Andrew MaySecond-Most-Played Decade update:90's - 8700's - 8460's - 84
Daniël Lohues is een van de meest begiftigde singer-songwriters van Nederland én fanatiek muziekluisteraar. Gijs vroeg hem een lijst met zijn ultieme zomernummers te maken, en zocht hem op in Drenthe om die te bespreken. Tracklist:(28.08) The Beach Boys - Wouldn't It Be Nice(33.47) Stevie Wonder - I Don't Know Why(38.30) Marvin Gaye & Tammi Terrell - Ain't Nothing Like The Real Thing (45.22) The Beatles - I'm Only Sleeping(55.33) Big Joe Turner - Shake, Rattle and Roll(59.00) Prince - If I Was Your Girlfriend(1.07.47) The Rolling Stones - Tumbling Dice(1.15.22) Georges Brassens - Chanson pour l'auvergnat(1.26.02) Robert Johnson - Terraplane BluesSee omnystudio.com/listener for privacy information.
Daniël Lohues is een van de meest begiftigde singer-songwriters van Nederland én fanatiek muziekluisteraar. Gijs vroeg hem een lijst met zijn ultieme zomernummers te maken, en zocht hem op in Drenthe om die te bespreken. Tracklist: (28.08) The Beach Boys - Wouldn't It Be Nice (34.10) Stevie Wonder - I Don't Know Why (38.51) Marvin Gaye & Tammi Terrell - Ain't Nothing Like The Real Thing (45.45) The Beatles - I'm Only Sleeping (56.20) Big Joe Turner - Shake, Rattle and Roll (59.50) Prince - If I Was Your Girlfriend (1.08.34) The Rolling Stones - Tumbling Dice (1.16.10) Georges Brassens - Chanson pour l'auvergnat (1.26.50) Robert Johnson - Terraplane Blues See omnystudio.com/listener for privacy information.
Manifestation- How to Step into your Higher Alignment, no MATTER what! Feeling stuck, defeated, or down in the dumps? Well, all hope is not lost - because the lower the state you find yourself in, the higher you can soar! Today, Michelle J. Lamont is here to show you that you can step into your higher alignment no matter what the universe presents you with; that your darkest days can push you into growth and expansion beyond your wildest dreams. Tune in to find out how you can begin stepping into your higher alignment regardless of the circumstance you're in. Learn how to get through even the toughest of times and turn yourself into the solution with Michelle J. Lamont today. Into The Mystic with Michelle J. Lamont. This 4-week program begins 16 August (limited seats available) | Find out more at michellejlamont.com/workshop Are you ready to step into your higher alignment? Learn to create your own reality through clarity calls or one-on-one coaching with Michelle J. Lamont at michellejlamont.com/services KEY POINTS: How your suffering is your teaching. The reason we stay in our lower vibration. Learning to embrace your “Misery Loves Company” energy. How to play the “Wouldn't It Be Nice?” game. Creating your reality by becoming the solution. QUOTABLES: “The solution that you seek is seeking you.” “We are here to create. We are here to be alive with our God source energy thriving and inspiring us. And sometimes that includes kicking our ass." “Everything in your life, you manifested. The good, the bad, the ugly.” PRODUCTS / RESOURCES: Follow Michelle on Instagram @michellejlamont - instagram.com/michellejlamont Visit her website at michellejlamont.com Any questions? Reach out to Michelle at info@michellejlamont.com Manifesting Miracles is edited by Instapodcasts (visit at instapodcasts.com)
In this ep, Mat and Tim react to Britney Spears's request in court to have her conservatorship ended – and recall other artists in the 20th century who were taken advantage of for profit or otherwise.SONGS PLAYED:Britney Spears - ...Baby One More TimeBritney Spears - StrongerThe Beach Boys - God Only KnowsThe Beach Boys - Wouldn't It Be NiceFleetwood Mac - DreamsThe Ronettes - Be My BabyBritney Spears - ToxicBritney Spears - SometimesWHERE ARE THEY NOW?Justin Timberlake - CAN'T STOP THE FEELING!Christina Aguilera - Genie In a BottleRyan Gosling & Emma Stone - City of StarsSponsored by the spectator who caused the massive pileup at the Tour de France.
Folks,,,,,,what are YOU wearin' to the ballpark this summer?!?! Hope it ain't gym shorts and a t-shirt! The Red Sox had a bad weekend in Texas, and some of those losses were a part of the "Third 54," but let's all take a deeeeeeeeeep breath. Also, a shoutout to an AL West outfielder. Opening song is "Baseball" by Hippo Campus, closing song is "Wouldn't It Be Nice" by The Beach Boys. Brian Wilson is a genius.
In this episode, you will find out how to improve your English with two songs. You will also improve your knowledge of the second conditional. Songs: Wouldn't It Be Good by Nik Kershaw - https://www.youtube.com/watch?v=cTLTG4FTNBQ Wouldn't It Be Nice by The Beach Boys - https://www.youtube.com/watch?v=lD4sxxoJGkA Contact me: Instagram link: https://www.instagram.com/tamasbradfordteaching/ Blog link: https://learnenglishwithtommy.com/blog/
Heute reden wir über einen grandiosen Songwriter: ein innovativer Vordenker in Sachen Pop-Musik, aber leider auch einen Mann mit vielen Problemen, die ihm und seiner Kreativität immer wieder im Weg standen: Es geht um Brian Wilson. Die Beach Boys wären ohne ihn nicht vorstellbar gewesen - weder Surf-Songs wie "I Get Around" oder "Surfin' USA" und erst recht nicht das legendäre Album „Pet Sounds“. An einem Projekt hat er sich allerdings die Zähne ausgebissen und musste zum Schluss resignieren: Das legendäre, unvollendete Beach Boys-Album „Smile“. +++SONG-EMPFEHLUNGEN ZUR FOLGE: Beach Boys mit... "I Get Around", "God Only Knows", "Wouldn't It Be Nice", "I Know There's An Answer", "Good Vibrations", "Heroes And Villains" - und gerne auch mal reinhören in "The Smile Sessions", v.a. die Songs "Surf's Up", "Mrs. O'Learys Cow", "Our Prayer" und "Wind Chimes".
Episode 63 - Crushing Tables and Crushing DreamsAntoinette-Marie of The Happy Earth Zoo is having issues with knowing which of her animals are going to maul or eat visitors to the Zoo, or failing that, how not to be held responsible.Management Consultants’ advice: Burn down the zoo, disclaimers, hug-chomp Venn diagram, check the face for chompers, sub-Trexel sizing, poison?, lovely eyes, keep-away sticks, out-of-sight pit, have three tables, safety holes everywhere.Content Warning for:Emotional abuseBullying/tauntingDiscrimination & prejudiceSnakes & poisonGaslightingDiscussions of: animal attacks, extinction & environmental collapse, animal cruelty & death, mass deathMentions of: alcohol, violence, war, death, arson, prison, blood, children in peril, knives.Transcript: https://cutt.ly/XlUd7GLSpecial thanks to Maria in Lyon for this episode's Brief Submission and this week's Patrons: Mahum Farhan, Snerful, Jordan J, Wil Holmes-Roys, Cashi, 4ReasonsUnknown, Mila, MuddyHippy, Ori rokah, Allison M, Diana Raphael Cameron, haunted moon, Orionne, Tim, Grace Lang, Avi Critz, Pipe Zellin, Will 'Wouldn't It Be Nice' Casey, Kai, Beppa, Mat Stogner, Aallst, InsideAcesHead, Alexander Jiggles Newall, Mo Dooley, Juliette, Pasticche Candioli, Creagh Dorman, Victoria Taylor, Badgerhat, lewis mac, Lydia Obenshain, Red McKinnley, Lindsey Bradford, justsimplegabby, Victorystorms, urbanforaging, Morgan Gillaspie, Shelbie, Ashlee Duarte, Diana Lopera, Chris Sanders, Jess, HipHarp101, Jay Schriber, Dismas Novoa, Caldkay, Seb.If you'd like to join them be sure to visit www.patreon.com/rustyquill.Created by Tim Meredith and Ben MeredithProduced by Katie SeatonExecutive Producer Alexander J NewallPerformances:I.M.O.G.E.N: Imogen HarrisDavid 7: Ben MeredithTrexel Geistman: Tim MeredithEditing: Maddy SearleMusic: Samuel DF JonesArtwork: Anika KhanMastering: Jeffrey Nils GardnerFeatured SFX: NeoSpica, kevinkace, BOAAY, nitramdoh, JoelAudio, kantouth, DWOBoyle & previously credited artists via freesound.org. Original Foley by Maddy Searle.Additional music: Newer Wave by Kevin MacLeod.Link: https://incompetech.filmmusic.io/song/7016-newer-waveLicense: http://creativecommons.org/licenses/by/4.0/Subscribe using your podcast software of choice or by visiting www.rustyquill.com/subscribe and be sure to rate and review us online; it really helps us spread across the galaxy.Check out our merchandise, available at https://www.redbubble.com/people/RustyQuill/shop and https://www.teepublic.com/stores/rusty-quill.Join our community:WEBSITE: www.rustyquill.comFACEBOOK: www.facebook.com/therustyquill/TWITTER: @therustyquillREDDIT:
Ramsey Lewis – The Shape Of My Heart – 5:31 Sietse Huisman – What the Funk – 4:00 Lee Ritenour – Dreamcatcher – 4:22 Boudewijn Lucas; Erwin Hoorweg; Martin Verdonk; Shirma Rouse; Kim Hoorweg – A Place Called Home – 4:14 Marcus Johnson – Wouldn’t It Be Nice – 5:42 Paul van Kemenade; Jasper Van […]
Case ########-33An examination of Elias Bouchard.Recorded by The Archivist in Situ.Content warnings:Paranoia & anxietyEmotional manipulation & gaslightingCompulsions (supernatural)Spiders & arachnophobiaBody horror & eye traumaDrug use (marijuana)Mentions of: death, apocalypse & mass suffering, instances of memory loss & identity crisis, blood, physical violence, human remains, classism, deceased parent, scopophobia, parental disapprovalSFX: discordant static & chanting, flies, retchingTranscript:PDF - https://cutt.ly/6kkt8AODOC - https://cutt.ly/NkktZbBThanks to this week's Patrons: Mahum Farhan, Snerful, Jordan J, Wil Holmes-Roys, Cashi, 4ReasonsUnknown, Mila, MuddyHippy, Ori rokah, Allison M, Diana Raphael Cameron, haunted moon, Orionne, Tim, Grace Lang, Avi Critz, Pipe Zellin, Will 'Wouldn't It Be Nice' Casey, Kai, Beppa, Mat Stogner, Aallst ., InsideAcesHead, Alexander Jiggles Newall, Mo Dooley, Juliette, Pasticche Candioli, Creagh Dorman, Victoria Taylor, Badgerhat, Jwatta, lewis mac, Lydia Obenshain, Red McKinnley, Lindsey Bradford, justsimplegabby, Victorystorms, urbanforaging, Morgan Gillaspie, Shelbie, Ashlee Duarte, Diana Lopera, Chris Sanders, Jess, HipHarp101, Jay Schriber, Dismas Novoa, Caldkay, Seb.If you'd like to join them visit www.patreon.com/rustyquillEdited this week by Nico Vettese, Elizabeth Moffatt, Brock Winstead, Jeffrey Nils Gardner & Alexander J NewallWritten by Jonathan Sims and directed by Alexander J NewallProduced by Lowri Ann DaviesPerformances:- "The Archivist" - Jonathan Sims- "Martin Blackwood" - Alexander J. Newall- "Elias Bouchard" - Ben MeredithSound effects this week by Adam Wayne Gistarb, altfuture, amholma, Angel_Perez_Grandi, animatik, athenspublic, CUeckermann, daboy291, daveincamas, FractalStudios, georgisound, Joao_Janz, kemcdonald11, MAJ061785, Mortifreshman, OwlStorm, rkeato, sacredmatt, SpliceSound, sturmankin, VithorMoraes, cabuster9, dheming & previously credited artists via freesound.orgAdditional sound effects from https://www.zapsplat.com & https://www.SoundsCrate.comMusicFuneral March by Chopin, from the Youtube Audio Library https://studio.youtube.com/Check out our merchandise available at https://www.redbubble.com/people/RustyQuill/shop and https://www.teepublic.com/stores/rusty-quill.You can subscribe to this podcast using your podcast software of choice, or by visiting www.rustyquill.com/subscribePlease rate and review on your software of choice, it really helps us to spread the podcast to new listeners, so share the fear.Join our community:WEBSITE:
Martin Rev - See Me Ridin' Zoran Simjanovic - Variola Vera Ashra - Oasis Mesud, Mason, Stevensen - Der Kommissar Japan - Life In Tokyo (Instrumental) Danny Offia & The Friks - Funk with Me The C.V.Q. Band - Whatever You Do (Instrumental) Be Svendsen - Day 3 (Dark Matter mix) Ambala - Road To Midnight La Funk Mob - La Doctoresse Greg Foat Group - Girl And Robot With Flowers (Part 5) Alexander Katenin - All We Know Mark Isham - Raffles in Rio Poli Palmer - More Thunder Videosex - The Laughter Of King Dada Jeff Liberman - Transformation Lucio Battisti - Una Poltrona, Un Bicchiere Di Cognac Spirit - Feeling In Time Michael Franks - Can't Seem To Shake This Rock 'N' Roll Matty - Portrait of Amanda BröselMaschine - Nossa Bova Beach Boys - (Wouldn't It Be Nice to) Live Again Richard Wright - Holiday Prelude - Edge of The Sea John Martyn - Small Hours Via Talas - Čarobnjaci ulice
a-ha - Lesson One (Take On Me first demo) (1982) Before their one. big, groundbreaking mega-hit (mostly for the video) this song underwent a couple revisions. They knew somehow that they had gold, but they struggled to find a winning chorus. They would. Anna Frid Lyngstad - Guld Och Gröna Ängar (10CC's "The Wall Street Shuffle" in Swedish) (1975) The red-headed female in Abba released solo stuff with some success in her homeland throughout their heyday. But she didn't hit in the USA solo until teaming with Phil Collins for "I Know There's Something Going On" in 1982. Anna Frid Lyngstad - Liv På Mars? (David Bowie's "Life On Mars?" in Swedish) (1975) Anna Frid Lyngstad - Skulle De' Va' Skönt (The Beach Boys' "Wouldn't It Be Nice" in Swedish) (1975) Baker Gurvitz Army - Hearts On Fire (1976) A pretty stupid song written by Ginger Baker. I never really liked him. I never liked Cream, to be honest. I like Jack Bruce singing with Carla Bley on "Escalator Over The Hill". Bridges - Miss Eerie ("The Juicyfruit Song", the earliest recording of "Take On Me") (1981) In 1981, a-ha’s Paul Waaktaar-Savoy and Magne Furuholmen recorded this song for their band Bridges. In 1984, having formed a-ha with vocalist Morten Harket, they’d take yet another stab at the track. Jack Bruce - I'm Gettin' Tired (Of Drinkin' and Gamblin') (1965) Ginger Baker's Air Force - Sweet Wine (1970) Same musical structure, in a way, as Mothers of Invention, without the scatology. Ginger Baker - Ariwo (1972) Hawkwind - Levitation (1980) With Ginger Baker on drums. Another band that never really pinged my interest. Throw them on the pile! Michael Lloyd and Mike Curb - It's Magic (1969) From...Hot Wheels Cartoon Soundtrack. Liner notes: This exciting album contains all of the original sound track music from HOT WHEELS- the high adventure show on ABC-TV's Super Saturday Club. This thrilling weekly cartoon series features a group of young drivers who have formed a "hot wheels" auto club. Their activities cover all aspects of this fast road sport...cross country, track and dunes, and the music reflects their love of high speed action. HOT WHEELS is an up-to-the minute show and the music from the sound track is as turned on and tuned-in as today's high performance cars. Mike Curb. who wrote the music for the show, puts it all into high gear on this fast moving album! Ian Dury and the Blockheads - Reasons To Be Cheerful, Pt. 3 (1979) These guys could play. I went through their stuff. Very exciting and versatile. The late '70s in UK must have been an exciting time for music fans. Ian Dury and the Blockheads - Hit Me With Your Rhythm Stick (1978) Listen to that bass guitar. Norman Watt-Roy. What fun it must have been to produce these records. That seems to be when the best records were made. When all concerned were united in making a good sound, but not taking themselves too seriously. Jack Bruce - Never Tell Your Mother She's Out of Tune (1969) Jack Bruce - Pieces Of Mind (1974) Jack Bruce - Victoria Sage (1971) Even though having Ginger Baker in my band would have been a special circle of hell for me, and I think Jack Bruce might have been a tad busy for my taste, I find both of their records invariably more interesting than anything Eric Clapton did. And aside from Jack Bruce's first solo album, Songs For A Tailor, neither artist charted in the US with anything. And I know this might be sacrilege to say, but is Duane Allman's slide solo on "Layla" THAT good? I find it pretty...meandering. Out of tune, even. Go ahead and kill me. Madness - Blue Skinned Beast (1983) Same album as their US hit "Our House". Dan put this on a mix tape for me once. I never forgot. Madness - Embarrassment (1980) Madness are an English ska band from Camden Town, North London, who formed in 1976. One of the most prominent bands of the late 1970s and early 1980s two-tone ska revival, Madness's most successful period was from 1980 to 1986, when the band's songs spent a total of 214 weeks on the UK Singles Chart. Madness have had 15 singles reach the UK top ten, which include "One Step Beyond", "Baggy Trousers" and "It Must Be Love", one UK number one single "House of Fun" and two number ones in Ireland, "House of Fun" and "Wings of a Dove". "Our House" was their biggest US hit. In 2000 the band received the Ivor Novello Award from the British Academy of Songwriters, Composers and Authors for Outstanding Song Collection. Madness - On The Town (Feat. Rhoda Dakar)/Bingo (2009) Read the Wiki about this album. Most artists, after how many years, regress or become a trivia act. Madness reached for the stars. It's a worthy listen for sure. Marianne Faithfull - I'm a Loser (1965) You had to be there, I guess. Mike Curb & Lawrence Brown -Bay City Boys (1967) From the original motion picture soundtrack to the film "Mary Jane". A car driven by a driver intoxicated by marijuana plunges off a cliff, killing the driver and injuring a female passenger. It turns out marijuana use is rife at a small town high school, led by the clique of Jordan Bates. Art teacher Phil Blake tries to persuade student Jerry Blackburn not to smoke. Jerry borrows Phil's car and Jordan leaves some marijuana in it. Phil gets arrested for possession of marijuana. This movie starred Fabian, who was a heartthrob in the early '60s. Maybe this was his attempt to be a serious actor. The movie was co-written by Dick Gautier (POACA will recall his ubiquitous presence on every game show ever done, as "Hymie" the Robot on Get Smart, and in 1973, when Burt Ward and Yvonne Craig reprised their Batman roles (as Robin and Batgirl respectively) for a TV public service announcement about equal pay for women, Adam West, who was trying to distance himself from the Batman role at the time, declined to participate. Gautier filled in for West as Batman. The other co-writer was Peter Marshall, who hosted The Hollywood Squares for 15 years. For the fetishist, here is that PSA, with Dick Gautier as Batman. https://youtu.be/3LviAKGZxPs Mike Curb Congregation - Come Together/Hey Jude (1970) The Mike Curb Congregation - Burning Bridges (1970) From the movie "Kelly's Heroes". Hank Williams Jr. & The Mike Curb Congregation - Walkin' To New Orleans (1971) The New Life - The Sidehackers Soundtrack (1969) Do you remember the MST3K episode? Well, there's a soundtrack that features Mike Curb's involvement. Besides the Sidehackers soundtrack, The New Life also scored songs for a film called Black Water Gold.
Hello Friends, and welcome to the one you've all been asking and waiting for, The Beach Boys' 1966 all-time great LP, Pet Sounds. Repeatedly cited as one of the greatest albums of all time, Brian Wilson's baby has won the hearts and souls of listeners for the last 54 years, and was only ever released in mono, until it in 1996 it was finally given the stereo remix treatment as a part of The Pet Sounds Sessions box set. However, there have been a few revisions to this remix since, as well as a few mono oddities to take a look at. Wouldn't It Be Nice if there were four different mixes of said track? Of course it would! So Let's Go Away For Awhile, and see if we can finally settle the mono vs. stereo debate once and for all (spoilers - we don't).Happy Listening, Frederick Email the show at: backtomonoradio@gmail.comListen to companion podcast Back to Mono here: backtomono.podbean.comJoin the Facebook Community here: https://www.facebook.com/groups/backtomono
'Stay There', hoy estrenamos el tercer y último adelanto de 'Self Worth', el nuevo e inminente disco de Mourn, que hoy suenan a guitarrazo limpio. Escuchamos a The War On Drugs en directo con motivo de la publicación de 'Live Drugs', su próximo álbum en vivo, descubrimos cómo suena el regreso de AC/DC con 'Shock In The Dark' y también la primera canción de The Antlers en seis años, 'Wheels Roll Home'. WIDE VALLEY – Lonesome Train THE WAR ON DRUGS – Red Eyes (Live) KENNYHOOPLA feat. JESSE ROTHERFORD – Lost Cause JULIE ET JOE – Marelle ELA MINUS – Megapunk KYLIE MINOGUE – Magic SIDONIE – Buenas Vibraciones BEACH BOYS - Wouldn't It Be Nice FONTAINES D.C. - I Was Not Born MOURN – Stay There EZRA FURMAN – In America THE ANTLERS – Wheels Roll Home TRAVIS – Waving At The Window TRAVIS SCOTT feat. MIA & YOUNG THUG - Franchise THE WHITE STRIPES – Seven Nation Army AC/DC – Shot In The Dark THE KILLS – Raise Me Escuchar audio
For our first Adam Sandler movie we get drunk and fall in love with 50 First Dates (2004).Episode 6Topics Include:Alex is a huge Puss when it comes to drinking alcohol.How connecting with someone will go way further than physical beauty.If The Boondocks is considered Anime.Deny it if you want, but Kids Bop 1 is rad.Gay panic in middle school was immense.Alex gets personal with the song "Wouldn't It Be Nice".How mainlanders turned into Hawaiian locals.Thank a construction worker.Brittany Cox Instagram - @itsbrittanycoxSomewhere Over the Rainbow - Israel "IZ" Kamakawiwo'oleMi Dulce Niña - A.B. Quintanilla III Y Los Kumbia KingsSummer Girls - Kidz Bop KidsHired Hands - George EnsleWouldn't It Be Nice - The Beach Boys
"Wouldn't It Be Nice to Get Knocked Out Cold With a Shovel for Exactly Six Weeks and Five Days?" - By Ben Mathis-Lilley, Slate.com
Join Alex, Helen, Bryn, Lydia and Ben as they adjust to their new normal aboard the Vengeance.This week Hamid has a moment of clarity, Azu feels tall again, Cel keeps an eye on Carter, and Zolf has a discussion with the captain. Content Notes:- Mind/body swapping- Dysmorphia/dysphoria- Disorientation- Innuendo- Self-loathing- Comedic violence- Alcoholism/addiction/withdrawal- Second-hand embarrassment / awkward conversationsThanks to this week's Patrons: Mahum Farhan, Snerful, Jordan J, Wil Holmes-Roys, Cashi, 4ReasonsUnknown, Mila, MuddyHippy, Ori rokah, Allison M, Diana Raphael Cameron, haunted moon, Orionne, Tim, Grace Lang, Avi Critz, Pipe Zellin, Will 'Wouldn't It Be Nice' Casey, Kai, Beppa, Mat Stogner, Aallst ., InsideAcesHead, Alexander Jiggles Newall, Mo Dooley, Juliette, Pasticche Candioli, Creagh Dorman, Victoria Taylor, Badgerhat, Jwatta, lewis mac, Lydia Obenshain, Red McKinnley, Lindsey Bradford, justsimplegabby, Victorystorms, urbanforaging, Morgan Gillaspie, Shelbie, Ashlee Duarte, Diana Lopera, Chris Sanders, Jess, HipHarp101, Jay Schriber, Dismas Novoa, Caldkay, Seb. If you'd like to join them, visit www.patreon.com/rustyquill.Editing this week by Marisa Ewing, Tessa Vroom & Alexander J Newall.SFX this week by Tomlija, skinnytecboy, FullMetalJedi, alegemaate, 110110010, kupp2, kyles, insanity54, khenshom, pfranzen, JuanFG, greenlinker, greenlinker, Ranne_Madsen, mariiao2, FreqMan, Brokenphono, Jhalkompwdr, mallement, and previously credited artists via Freesound.org.As always, today’s game system is available for free at d20pfsrd.com. Check out our merchandise available at https://www.redbubble.com/people/RustyQuill/shop. Join our community:WEBSITE: rustyquill.comFACEBOOK: facebook.com/therustyquillTWITTER: @therustyquillREDDIT: reddit.com/r/RustyQuillDISCORD: https://discord.gg/KckTv8yEMAIL: mail@rustyquill.comRusty Quill Gaming is a podcast distributed by Rusty Quill Ltd. and licensed under a Creative Commons Attribution Non-Commercial Share alike 4.0 International Licence. For information regarding your data privacy, visit acast.com/privacy. See acast.com/privacy for privacy and opt-out information.
Back to a regular episode to talk about regular things -- with an emphasis on changing your perspective on things. On Wifey's Weekly Words, Sari talks about how the upcoming fall semester will be different, but there are so many positive things to look forward to and how changing your mindset makes the world of a difference. She also talks about how important it is to listen to your body and your mind. In Love, Lust, or Lie, Sari reminds everyone that when he/she likes you, you'll know. If they don't, you'll be confused. The songs of the week are Wouldn't It Be Nice by The Beach Boys, I'm So Excited by The Pointer Sisters, and I'm Coming Out by Diana Ross. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Solo uno de los Beach Boys había practicado sobre una tabla de surf y no eran tan virtuosos con los instrumentos: requerían de ayuda. Eso no fue un problema para que causasen furos con sus peinados, sus tablas de surf y con canciones como Wouldn’t It Be Nice?
Wouldn’t It Be Nice if we could work sitting down sometimes? by Justin-Finkelstein
Enjoying the show? Please support BFF.FM with a donation. Playlist Let it Ride by The Soundcarriers on Harmonium (-) Conference Call at Four by Peter Ivers on Becoming Peter Ivers (RVNG) Cha Cha by D.R.A.M. on #1EpicEP (Empire) Japan by Famous Dex on Dex Meets Dexter (Rich Forever Music) Fried for the Night by Tokimonsta on Oasis Nocturno (-) Joke Ting (feat. Ari PenSmith) by GoldLink on Diaspora (RCA Records) Fair Chance (feat. Ty Dolla $ign & Lil B) by Thundercat on It Is What It Is (Stones Throw) Coconut by Harry Nilsson on Nilsson Schmilsson (RCA Records) Stuck in the Middle With You by Stealers Wheel on Stealers Wheel (Mercury Records) Jerusalem, New York, Berlin by Vampire Weekend on Father of the Bride (Columbia) A-Punk by Vampire Weekend on Vampire Weekend (XL Recordings) Potions by Day Wave ([PIAS] Recordings) New Sensations by Lou Reed on New Sensations (BMG Music) Bikes by Rubblebucket on Rubblebucket (-) Budapest (feat. Shy Boys) by STRFKR on Budapest - Single (Polyvinyl) Walk On By by Issac Hayes on Greatest Hits (Fantasy, Inc.) God Only Knows by JR JR on Horse Power EP (Warner Records) Wouldn't It Be Nice by The Beach Boys on Pet Sounds (Capitol) Mercury In Retrograde by Sturgill Simpson on Sound & Fury (Elektra) Best Shirt On by Chuck Prophet on Best Shirt On (Yep Rock Records) Beer For Breakfast by The Replacements on All For Nothing/Nothing For All (Reprise) Don't Stand So Close to Me by The Police on Zenyatta Mondatta (A&M Records) Cellular by King Krule on Cellular (True Panther Sounds) Roses Are Free by Ween on Chocolate & Cheese (Elektra) Can I Kick It? by A Tribe Called Quest on People's Instinctive Travels and the Paths of Rhythm (25th Anniversary Edition) (Jive) Walk On the Wild Side by Lou Reed on Transformer (RCA) Where You Belong by Little Dragon on New Me, Same Us (Ninja Tune) 12.38 by Childish Gambino on 3.15.20 (RCA) Come Back to Earth by Mac Miller on Swimming (Warner) On The Breeze by Dirty Projectors on Windows Open (Domino) Overlord by Dirty Projectors on Windows Open (Domino) Strawberry Letter 23 by Shugie Otis on Freedom Flight (Sony BMG) Debra by Beck on Midnite Vultures (Geffen) Ooh La La by Run The Jewels (Jewel Runners) we the people... by a tribe called quest on We Got It From Here....Thank You For Your Service (Epic Records) Check out the full archives on the website.
Umsjón: Matthías Már Magnússon og Lovísa Rut Kristjánsdóttir Nóg um að vera í Popplandi dagsins, ný tónlist í bland við sígilda. Bræðurnir í Omotrack kíktu við í spjall og sögðu frá nýju lagi. Heppinn hlustandi hringdi inn og fékk miða á tónleikaröðina Reikistjörnur og svo heyrðum við að sjálfsögðu lög af plötu vikunnar, Atlas sem er í höndum Marteins Sindra. Ojba Rasta - Baldursbrá U2 - Beautiful Day Haim - Summer Girl Halli Reynis - Þjóðarsálin Halli Reynis - Í speglinum er andlit John Lennon - Stand By Me Cake - Never There Þorsteinn Kári - Dægurflugan Quarashi - Stars King Princess - Prophet Calvin Harris - One Kiss (ft. Dua Lipa) Benni Hemm Hemm um Miklubraut Benni Hemm Hemm - Miklabraut Dire Straits - Money For Nothing Marteinn Sindri - Dice Daði Freyr - Skiptir ekki máli GDRN - Hvað ef (ft. Auður) Portugal The Man - Feel It Still Krummi - Stories To Tell 200.000 Naglbítar - Sól Gleypir Sæ Big Thief - Century Marteinn Sindri - Crown Of Love The Head And The Heart - Missed Connection Paunkholm - Hjartafleygur Björgvin Halldórsson - Ég Gef Þér Allt Mitt Líf (Ragnhildur Gísladóttir) Auður - Enginn Eins Og Þú Omotrack - Quality Benni Hemm Hemm - Miklabraut Kylie Minouge - Slow Gary Jules - Mad World Brittany Howard - Stay High Bjartmar Guðlaugsson - Týnda Kynslóðin Madness - It Must Be Love Páll Óskar & Unun - Ástin Dugir Julian Civilian - Afturábak Jackie Deshannon - Put A Little Love In Your Heart Simple Minds - Don't You Forget About Me Taylor Swift - Lover Lana Del Rey - Summertime Sadness Huginn - Horfir Á Mig Flora Cash - You're Somebody Else Of Monsters And Men - Wild Roses Botnleðja - Hausverkun R.E.M. - Orange Crush Beach Boys - Wouldn't It Be Nice
Whether you’re celebrating Canada Day today or hurriedly getting work done in hopes of a four-day weekend beginning on the 4th of July, you’ve gotta make time for shazbazzar and JediShua before getting to work as the second half of 2019 begins. The TechnoRetro Dads have a summer-packed show to kick of the month of July with Bernie, Beach Boys, and big boomers! In the NEWS… The Dark Crystal: Age of Resistance will have an accompanying comic book series to delve more deeply into the many characters from the Netflix series. Don’t forget that Stranger Things 3 is coming to Netflix this Thursday. Find out how Hawkins, Indiana deals with another attack from another dimension. Tickets to Star Wars Celebration Anaheim 2020 went on sale…and were quickly sold out. We Love Our Cereal… …and the Roving Spoonster, Shane in GR does, too! Two new Cap’n Crunch flavors for your bowl! The UK may have lost major holdings in North America, but they get the last laugh by getting white chocolate Coco Pops while the former colonies fill their bowls with empty wishes. Evidence of the TechnoRetro Dads’ time-traveling tours is discovered by Austrian archaeologists who dug up three thousand year-old Cheerios (not Oreos, shaz). Vinyl Scratchback: The Beach Boys Summer time is a funner time with music blaring from your boombox at the beach — as long as it’s beach music. And what could be more summer-centric than the tones of The Beach Boys? From wave-riding songs like “Surfin’ Safari” and “Surfin’ USA” to cruising songs like “Fun, Fun, Fun” and “I Get Around”, The Beach Boys have been an integral part of summer. But boys will be boys, and therefore had to include songs about the girls like “California Girls” and the wistful “Wouldn’t It Be Nice”. Rounding out the mix is their huge summer hit in the ‘80s called “Kokomo” (which, evidently, isn’t about white chocolate Coco Puffs). Let’s Go To the Movies: Weekend at Bernie’s Richard and Larry discover a discrepancy in their company’s financial records that reveals more than a clerical error. To reward them for their diligence and vigilance in their work, their boss Bernie invites them to his beach house for the weekend — and plans to have them silenced…forever. But when Bernie gets on the wrong side of his nefarious partner-in-crime, the hitman is given a different target and the two young employees spend a wild weekend trying to conceal the fact that their boss is dead so that they can enjoy a well-earned weekend on the beach. Fireworks! Pack black powder into a paper cylinder, set it aflame, and watch it smoke, skip, snake, skyrocket, or simply go “BOOM!” The first week of July is a great time for blowing things up at home, the beach, or dirt roads on the way back from another state with less-stringent laws regulating fireworks. The ‘Dads and several EarBuds recall their experiences with sparklers, firecrackers, bottle rockets, Roman candles, and more as we celebrate national holidays this week. Feedback: New Coke and the Cola Wars New Coke turned Jeremy into a Pepsi drinker. Norman speaks of the Cola Wars in coded speech. Myles can’t find New Coke in Canada and needs help. Thanks for tuning in to TechnoRetro Dads, EarBuds! Go online for more TechnoRetro Dads on iTunes, Apple Podcasts, Stitcher, RetroZap.com, or TechnoRetroDads.libsyn.com. Pick up your TechnoRetro Dads merchandise at TeePublic. Don’t forget to rate and review TechnoRetro Dads on iTunes, share us and with us on social media, get TechnoRetro merchandise at TeePublic, and join discussions on Discord about toys, cereal, games, movies and/or shows from the ‘70s and ‘80s by giving the ‘Dads your feedback via voice mail at (209) 878-7323 or sending us your mp3dback via electronic-M to podcast@TechnoRetroDads.com.
“When I work with people, I always tell them it's about turning our garbage into our gifts.” Carolyne Bennett (19:33 - 19: 38) Carolyne Bennett is a life coach, a Louise Hay “Heal Your Life” licensed teacher and speaker. She is a firm believer that we are the masters of our own destinies. Carolyne has over 12 years of experience in helping hundreds of people both in one-on-one and through courses. She is also an NLP practitioner and a trained mindfulness and meditation instructor. Inspired by Buddhism, Kabala, and New Age thoughts, Carolyne is a powerful Law of Attraction teacher. She is the Founder of Soul Tribe, a community of people that meet monthly to stay plugged in on how to live a positive and fulfilling life. How to get unstuck from survival mode. Sometimes it can seem like all you’re doing is surviving, without making any real progress towards the ideal life that you’ve imagined for yourself. Maybe you’re suffering from anxiety or depression, dealing with health challenges, in a relationship that isn’t serving you, or you’re stuck in a dead-end job. You don’t have to live that way. The life that you’ve dreamt of is possible if you learn to utilize the Law of attraction to manifest your ideal outcomes. The Law of Attraction states that whatever we focus on, we attract into our lives. When you’re going through tough times, it can be challenging to focus on the positive. However, if you let your current circumstances influence all of your focus, you’ll end up attracting more of the same. “I realized that I had these two aspects within myself, the positive and the negative. I had to learn how to feed the positive aspect of myself so that it could thrive and become a prominent way of living for me.” - Carolyne Bennett (22:31 - 22:55) How to let the Law of Attraction work in your favor. One of the best ways to approach the Law of Attraction is to treat it as an experiment. Instead of putting pressure on yourself, try to focus on something positive to see what happens. Here are some practices and tips to let the Law of Attraction take you from surviving to thriving. The story about the two wolves - There’s an old story about an old Cherokee teaching his grandkid about the internal conflict we all experience. He compares the fight within him to a battle between two wolves. One of the wolves is full of anger, envy, fear, regret, and the other one is full of joy, peace, love, hope, and tranquility. When his grandson asks him which wolf wins, the Cherokee says it’s whichever one he decides to feed. Similarly, if you want positive results in your life, you have to learn to focus on the positive. Whatever you focus on will thrive. Practice gratitude - Everyday when you wake up, make it a habit to list a few things you’re grateful for. Then go one step further and think of why you’re thankful for them. It can be as simple as having a comfortable bed to sleep in so that you can wake up refreshed and full of energy. When you dwell on the feeling of gratitude, you’re focusing on the abundance in your life, and you’ll attract more of the same. Play the “Wouldn’t It Be Nice” game - Originally written by Abraham and Hicks in their book Ask and It Is Given, it is a simple game where you think of something you want from a place of non-attachment. Make sure you’re in a positive and playful mood when you play the game, and make a wish for something you’d like to attract. Then go on with the rest of your day without dwelling on it. Do this frequently, and soon you might be surprised at the things you begin manifesting. “You can choose to be strong and powerful each day. You get to decide how you want to live and how you want to feel each day in your life.” - Diane Forster (2:26 - 2:39) Developing a positive mindset that attracts the life you want requires practice, just like building a strong physical body requires consistent effort at the gym. Practice positive thought patterns regularly till it becomes a habit, and don’t get discouraged if you slip up every now and then. It’s only natural, and it happens to everybody. Just pick right back up and get on with your routines of gratitude, meditation, and dwelling on the outcomes you desire. Don’t worry about how everything will work out. Just focus on the next step, and have faith that the rest will reveal itself. How to get involved For more information about working with Diane and to gain access to valuable resources visit dianeforster.com. You can contact Diane for coaching information at info@dianeforster.com. To learn more about the EED Process discussed on today’s episode, get Diane’s book, I Have Today. Check out Carolyne’s website. Connect with Carolyne on Facebook and Instagram. If you liked this episode, be sure to subscribe and leave a quick review on iTunes. It would mean the world to hear your feedback and we’d love for you to help us spread the word!
Où l’on constate que les « Garçons de la plage » valent largement plus qu’une planche de surf. Références du morceau : «God Only Knows», The Beach Boys (composition Brian Wilson, Tony Asher), album Pet Sounds (1966) Quelques liens vers des morceaux incontournables des Beach Boys :- I Get Around, sur l’album All Summer Long (1964)- California Girls, sur l’album Summer Days (And Summer Nights !!) (1965)- Wouldn’t It Be Nice, sur l’album Pet Sounds (1966)- You Still Believe In Me, sur l’album Pet Sounds (1966)- Sloop John B sur l’album Pet Sounds (1966)- God Only Knows, sur l’album Pet Sounds (1966)- Good Vibrations, single (1966) puis album Smiley Smile (1967)- Kokomo, single (1988) puis album Still Cruising (1989)
We’re getting S E X Y this episode, and each host has something carnal to bring to the table! Join us as we recount this surreal week and talk about Elizabeth Warren going to The Max for some shakes with Screech! We also all get our 23andMe tests and find out just what percentage of religion we all are! Sara gets her percentages down. Zach takes us to the Gamer Corner. Alex reveals her true identity, and then does it again.Featuring Zach, Alex, and SaraMusic Used:The Taxpayers – Evil MenThe Beach Boys – Wouldn’t It Be Nice
“The Cad and the Hat” (Season 28, Episode 15) It might be a weird one but this week’s episode was definitely watchable, and that’s something we can all be happy about. Plus Craig unearths some choice trivia about Michael Richards’ failed solo sitcom. Win-win! Hosted by Patrick Brennan & Craig Mazerolle Research by Craig Mazerolle Produced by Patrick Brennan Logo by Stephen Belyea Featuring audio clips from The Simpsons episode “Cad and the Hat”, and the song “Wouldn’t It Be Nice” by The Beach Boys. Theme – “Children’s TV 2” by Dorian Kelly
DC is joined by The Atlantic's Jason Guriel to celebrate the 52-year anniversary of the Beach Boys album "Pet Sounds," and much more. Also, Brian Wilson allowed DC permission to play "Wouldn't It Be Nice."
Here are some songs from your life, "Backstreet Girl" by the Rolling Stones, "Joey" by Bob Dylan, "Road to Nowhere" by the Talking Heads, "Boy In The Bubble" by Paul Simon, "July Fourth, Asbury Park", better known as "Sandy" by Bruce Springsteen and the E Street Band, "Wouldn't It Be Nice" by the Beach Boys. They all rely heavily on the accordion. Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
On the third episode of MUSIC SAVED MY LIFE, Hayley & Matt discuss The Beach Boys’ "Pet Sounds" and Japanese Breakfast’s "Soft Sounds From Another Planet", two experimental pop albums put out 51 years apart. Also, Matt hates Beck. Be sure to check out the companion guide to the pod for lots of great music recommendations and more! Available on our website at this link; bit.ly/2vwSx4b Opening Track: "Wow" by Beck Interludes: "Be True to Your School" & "I Just Wasn’t Made For These Times" by The Beach Boys Closing Track: "Wouldn’t It Be Nice" by The Beach Boys
Après avoir rien branlé pendant presque 4 mois, George et Andy ont décidé de chercher un travail ! Non je déconne...On a rouvert le feu avec une deuxième saison qui va vous laisser sur les rotules, tellement on va envoyer de swag. Et comme d’hab’, on a toujours des budgets délirants pour les visus. Mais aussi une playlist fidèle à notre ligne éditoriale : sans cohérence, avec des chanteurs qu’on diffuse obsessionnellement, et des super nouveautés démentes trop moumoute tropical électro.En sus, une nouvelle chronique, la dédicace, et le retour par incartades de Jean-Kevin.Cadeau bonus concours : que ceux qui retrouvent l’origine du film très subtilement photoshoppé sur notre visuel viennent nous le lâcher en com’ sur la page Facebook, ils recevront peut-être un t-shirt avec George et Andy dessus...Tracklist : 1. The Beach Boys « Wouldn’t It Be Nice » (version mono remaster 40th) — 2. Sofi Tukker « hey lion » — 3. Martha and the Vandellas « Heatwave » — 4. Black et White Show « À Santo Domingo » — 5. LEISURE « Know You Better » — 6. Wham! « Love Machine » — 7. Melingo « Sol Tropical » — 8. Kero Kero Bonito - « Picture This » — 9. Candi Station « I’m Just A Prisoner (of your good lovin’) » — 10. Party Pupils « Ms. Jackson »
Hosted by Earnest 'EJ' Christian and Gee Steelio *The guys starts the show revisiting Pat Rileyâ??s comments that many believe to be and his innocuous "LeBron jab". *THE HOT FIVE: Kawhi Leonard, Mike Budenholzer, Scott Brooks, Tony Romo, New York Mets *Lang Greene of Basketball Insiders joins the show to discuss Scott Brooks firing in OKC, Pat Rileyâ??s recent comments on LeBron James and his thoughts on the NBA playoffs so far. HOUR #2 *An old friend and Fox Sports contributor Greg Smith comes on to discuss the NFL Draft, NBA playoffs and other off the cuff topics. We love when heâ??s on the show. *The NFL regular season schedule was released and EJ made a startling confession that heâ??s never been to an NFL game in his entire life. Plus the guys discuss the most notable match-ups of the 2015 NFL season. *Another guy that hasnâ??t been on the show in awhile, Kyle Nash aka. The Student Of The Game joined to give his take on the Greg Hardy suspension and his take on who will go first in the NFL Draft. Plus the guys go into the weekend with their shoutouts. SOUNDTRACK (Musical Tribute to The Beach Boys) Good Vibrations Fun Fun Fun California Girls I Get Around Kokomo Little Deuce Coupe This Little Old Lady From Pasadena Wouldnâ??t It Be Nice
Here are some songs from your life, "Backstreet Girl" by the Rolling Stones, "Joey" by Bob Dylan, "Road to Nowhere" by the Talking Heads, "Boy In The Bubble" by Paul Simon, "July Fourth, Asbury Park", better known as "Sandy" by Bruce Springsteen and the E Street Band, "Wouldn't It Be Nice" by the Beach Boys. They all rely heavily on the accordion. Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
This week we take it back to basics and we get rid of our friends! Joe and Dan talk about California, comic books, skateboards, and of course video games. We cover the latest news and releases in video games for the week and give our predictions for 2013. Enjoy! This week's music in order of appearance: Beach Boys - Wouldn't It Be Nice? Prince - I Would Die 4 U Hall & Oates - Maneater
Mountain Goats, Jam Eater BluesThe Beathovens, Summer SunTaken By Trees, Greyest Love of AllVashti Bunyan, Autumn LeavesGo Team, Acid AutumnDeath, Politicians In My Eyes39 Clocks, PLOThe Beach Boys, Wouldn't It Be Nice (a capella)The Beatles, Eleanor Rigby (instrumental)No Kids, All That Heaven AllowsKatie Selmantis, Believe MeFinal Fantasy, Red Sun (demo)DJ Sabzi interview by Nas
© 2020-2025 Ivy Podcast Discovery LLC
