Podcast appearances and mentions of jeff skunk baxter

In this week's episode, host Kristin Hayes talks with Daniel Poneman, a senior fellow at the Council on Foreign Relations and former Deputy Secretary of the US Department of Energy, about the role of nuclear energy in meeting increasing demands for electricity. As the use of artificial intelligence grows, so does demand for electricity, raising questions about which energy sources can provide reliable, clean, consistent power. Poneman discusses whether nuclear energy is a viable option, how the safety and performance of nuclear technology have evolved, and why some retired nuclear power plants are being revived—including the Three Mile Island nuclear plant in Pennsylvania, where a reactor meltdown caused by equipment malfunctions occurred 46 years ago as of last Friday. Poneman also describes what challenges the nuclear energy industry is facing, barriers to wider adoption of nuclear energy, and how public perception of nuclear energy has shifted over time. References and recommendations: “Double Jeopardy: Combating Nuclear Terror and Climate Change” by Daniel Poneman; https://mitpress.mit.edu/9780262546669/double-jeopardy/ “Washington: A Life” by Ron Chernow; https://www.pulitzer.org/winners/ron-chernow “Team of Rivals” by Doris Kearns Goodwin; https://www.simonandschuster.com/books/Team-of-Rivals/Doris-Kearns-Goodwin/9780743270755 “Speed of Heat” album by Jeff “Skunk” Baxter; https://open.spotify.com/album/6t5FAhdwvsYFRejUTRAzVZ Henry M. Paulson Jr.'s writings about biodiversity; https://www.nytimes.com/2021/09/30/opinion/animal-extinction.html

Mike Gormley has been a music journalist, record company executive, and an artist manager. He's worked with The Bangles, Oingo Boingo, Danny Elfman and Jeff “Skunk” Baxter. He's been a writer for the Detroit Free Press. Done PR for Mercury Records. And an executive at A&M Records. My featured song is “Miles Behind” from the album of the same name. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Mike at:www.lapdev.com—---------------------------------------ROBERT'S SINGLES:“THE RICH ONES ALL STARS” is Robert's latest single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Jeff “Skunk” Baxter is remarkably accomplished in two careers. In the first he's a legendary World Class guitarist who's known for his work with Steely Dan, The Doobie Brothers and many others. In the second he's a world renowned expert in Counterterrorism and Missile Defense with a top level Government security clearance.As a musician Skunk has played with just about everyone including these one-namers: Elton, Barbra, Dolly, Eric and Ringo. He's a member of the Rock ‘n Roll Hall of Fame. As a defense expert he consults to the U.S. Government and to a number of major private companies.My featured song is “Lou's Blues”, my recent single with my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Skunk:www.jeffskunkbaxter.com_________________________ROBERT'S SINGLES:“LOVELY GIRLIE” is Robert's new single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Jeff "Skunk" Baxter is a missile defense expert and a counter-terrorist authority who has consulted for Congressional Committees, the Pentagon, and the US intelligence community… he’s also a legendary guitarist who performed that sick solo on “Rikki Don’t Lose That Number”. Really, no Really! Skunk is universally recognized as a legendary guitarist. Best-known for his work with Steely Dan (as a founding member) and the Doobie Brothers, his versatility and highly developed technique as a soloist made him a hugely in-demand session guitarist from the '70s on to today. In the mid-1980s, a series of chance encounters led Baxter to a second career working in the defense industry where his natural ability to look at existing technologies and to see alternate ways to use them, led to multiple security clearances and contracts consulting for a litany of major intelligence and defense agencies. *** IN THIS EPISODE: Explaining how musicians translate improvised melodies on stage from their mind to their fingers. Discovering his would-be passion – playing the guitar. How a founding member of Steely Dan end up being a missile defense thought maker. Predicting why and how the bad guys do what they do. What happens when government agents need you when you’re playing with Ringo Starr? Explaining Russia’s motivations in 5 seconds. Were Steely Dan’s founding members really taskmasters? What makes for a good rock solo? Insight into working with Elton John, Donna Summer, Eric Clapton, Dolly Parton and more… The difference between a good guitar player and an excellent one is…? *** FOLLOW SKUNK: Website - jeffskunkbaxter.com Facebook – SkunkBaxter Instagram - @JeffSkunkBaxter Album – Speed of Heat *** FOLLOW REALLY NO REALLY: www.reallynoreally.com Instagram YouTube TikTok Facebook Threads XSee omnystudio.com/listener for privacy information.

Send us a message, so we know what you're thinking!Every band/artist has to have a first album.  Sometimes those albums are good, sometimes they're not, and sometimes they just show potential.  This episode, we look at some first albums over the gamut of the rock era that we regard as great, including some Australian albums. You've probably heard of most, but not all. In rock news, we look at Neil Young, The Wiggles (yes!), Joe Bonamassa, Jethro Tull and Billboard's new list – The Top 200 Albums of the 21st Century.  Our Album You Must Hear before You Die is Paris 1919 by John Cale. Mick regards this elegant 1973 album from the Velvet Underground co-founder as a stunning listen, and a great intro to John Cale.  Chris Thomas' production is, as usual, precise, while Cale presents some wonderful imagery in the lyrics.   References:  John Cale, Paris 1919, “A Child's Christmas in Wales”, Fragments of a Rainy Season, Brian Wilson, UCLA Symphony Orchestra, Words for the Dying, Dylan Thomas, Chris Thomas, Roxy Music, Eno, Sex Pistols, Pretenders, INXS, Bowie, Lou Reed, Queen, The Police, Outlandos d'Amour, “Can't Stand Losing You”, “Roxanne”, Stewart Copeland, Sting, Rod Stewart, The Tubes, “White Punks on Dope”, “What do you want from life?”, “a baby's arm holding an apple”, Kate Bush, The Kick Inside, David Gilmour, “Wuthering Heights”, Wuthering Heights Day, Roxy Music, Kari-Ann Moller, Chris Jagger, Andy Mackay, saxophone, “Re-make / Re-model", Bryan Ferry, Steely Dan, Can't Buy a Thrill, Jeff (Skunk) Baxter, “Do it Again”, “Reelin' in the Years”, “Only a fool would say that”, John Lennon, Imagine, Robert Dimery, 1001 Albums You Must Hear Before You Die, Peter Gabriel, The Cure, Three Imaginary Boys, Boys Don't Cry, "10:15 Saturday Night", Robert Smith, Television, Marquee Moon, Devo, Q: Are We Not Men? A: We Are Devo!, Rolling Stones, "Satisfaction", Mark Mothersbaugh, Violent Femmes, "Kiss Off", "Add It Up", “Glister in the sun”, "Blister in the Sun", Sex Pistols, Never Mind the Bollocks Here's the Sex Pistols, Marlon Brando, The Wild One, Malcolm McLaren, The Great Rock'n'Roll Swindle, “Ever get the feeling you've been cheated?”, Ramones, Mi-Sex, Graffiti Crimes, Midnight Oil, “Run by Night”, 2JJ, Cold Chisel, Khe Sanh, Skyhooks, Living in the 70's, “You just like me ‘cos I'm good in bed”, Neil Young, Oceanside Countryside, Joe Bonamassa, Adele, Taylor Swift, Jethro Tull, Donald Trump  Playlist – Everything we talked about in this episode The Wiggles' new album (snippet) Donald Trump strikes again! 

​ABOUT JEFF "SKUNK" BAXTER: Rock legend, Jeff "Skunk" Baxter is an American guitarist, known for his time in the rock bands Steely Dan and The Doobie Brothers during the 1970s and Spirit in the 1980s. His resume is a who's who of Rock history. Also....more recently, he has worked as a defense consultant and advised U.S. members of Congress on missile defense.  ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

​ABOUT JEFF "SKUNK" BAXTER: Rock legend, Jeff "Skunk" Baxter is an American guitarist, known for his time in the rock bands Steely Dan and The Doobie Brothers during the 1970s and Spirit in the 1980s. His resume is a who's who of Rock history. Also....more recently, he has worked as a defense consultant and advised U.S. members of Congress on missile defense.  ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

I always enjoy the opportunity to talk to very seasoned career bass players.Hank Horton is a heavy-hitter vocalist, producer, and bassist who fits into that category. Hank has a diverse skillset where he can play electric for Jeff “Skunk” Baxter (and a ton of other renowned musicians), play upright in the Detroit Symphony, or be excellent in a Broadway pit. I also understand that Hank has been using the Katana-210 Bass Amplifier, typically designed for electric bass, for his upright bass—a unique technique that he says has helped him to elevate his sound in recent years.Join me as we get the low down from Hank Horton himself!This interview first appeared in Bass Musician Magazine in September 2024Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.

Barry Goudreau, was an original member of Boston, whose first album sold well over 20 million copies worldwide.  The band reached the pinnacle of the entire music industry shortly after the albums release.  After touring and two albums with the band, Barry recorded a solo album and then went on to form several other groups including Orion The Hunter and his current band - Barry Goudreau's Engine Room.  Multi-award winning program director Ray White hangs out backstage with Barry to talk about his illustrious music career and recent projects.  His latest album with his band is The Road.  You'll also find Barry at several shows a year with the American Vinyl All-Stars with Jeff "Skunk" Baxter and other elite musicians from the music world.  New sounds...new energy, right here on The CAT!

Welcome to Classic Hawk! Your weekly replay of some of our favorite episodes from archives of 108.9 The Hawk. Today's Episode: Every Last Drop (with Gil Ozeri) Originally Aired on June 26, 2023 WARNING: The FCC has fined 108.9 The Hawk for this episode of "The Whisp Turlington Show," but we are leaving it up so it can remain part of the historical record.In this episode of "The Whisp Turlington Show," the self-proclaimed "biggest slut in rock and roll history," Sunset, has come on the show to promote his new tell all book, "Every Last Drop." Whisp immediately orders Scotty to turn on the four hour delay. This, my friends, is a hot and steamy one. Proceed with caution. Sponsored by Shetland Creameries! Jeff "Skunk" Baxter's Ponytail Warehouse! A Belly Full of Led! Pizza Emporium! And the latest edition of the 108.9 The Hawk Concert Calendar! Guest Starring: Gil Ozeri (Big Mouth, #blackAF, Curb Your Enthusiasm) as Sunset! Love 108.9 The Hawk? Here's how to get more: Subscribe to the podcast! Get official merch: http://tee.pub/lic/goodrockshirts Early access & bonus shows: https://patreon.com/1089thehawk Follow us on social media: YouTube, Twitter, Instagram, TikTok, Bluesky, Threads Learn more: https://1089thehawk.com

TOM JOHNSTON THE DOOBIE BROTHERS ‘THE LOST INTERVIEWS' with RAY SHASHO EPISODE 15 INTERVIEWED FEBRUARY 17TH 2013   The Doobie Brothers are one of those bands that we've depended on, year after year, and expect to see performing invariably at outdoor music festivals, pavilions, arenas, casinos and bike week events across the nation. The group has been exhilarating audiences for decades yet appear timeless onstage. One of the principal reasons for the longevity and success of the Doobie Brothers has a lot to do with an unmitigated affection shared between the band and its audience. It's been an amazing love affair that has persevered for over forty-two years. When the Doobie Brothers finally call it quits … rock ‘n' roll will probably call it quits too.  Tom Johnston is the voice, lyricist and guitarist on numerous classic hit recordings by the Doobie Brothers. Inspired by listening to R&B music on the radio, California native Johnston started his first band at 14, eventually broadening his musical horizons by singing with soul and blues groups. After moving to San Jose to finish college, Tom met Skip Spence, original drummer for the Jefferson Airplane. Spence introduced Johnston to drummer John Hartman. Spence was also a founding member of Moby Grape which had a major influence on the Doobie Brothers. Tom Johnston, John Hartman and bassist Greg Murphy formed the power trio “Pud.” When “Pud” unraveled, the evolution of the Doobie Brothers began to take shape. While living in a home dubbed as their “musical headquarters,” guitarist Patrick Simmons and bassist Dave Shogren joined the group. The band quickly generated a huge following in California. In 1971, the Doobie Brothers launched their self- titled debut album, The Doobie Brothers on the Warner Brothers label with legendary producers Ted Templeman and Lenny Waronker. The first track on the album, “Nobody” penned by Tom Johnston, would later resurface in 2010 on their latest release, World Gone Crazy. Their second studio album Toulouse Street (named for a street in the French Quarter of New Orleans) introduced new bassist Tiran Porter and second drummer Michael Hossack (Navy Veteran). The album spawned the Tom Johnston penned classic hits, “Listen to the Music” (#11 Top 100 Billboard Hit -1972), “Rockin' Down the Highway” and “Jesus Is Just Alright,” (#35 Billboard Top 100 Hit -1973) written by Arthur Reynolds (1965) and performed by The Byrds (1969). In 1973, the Doobie Brothers released, The Captain and Me spotlighting some of the bands most memorable classic rock tunes penned by Tom Johnston … “Long Train Runnin'”(#8 Billboard Hot 100 Hit) and perhaps the bands anthem song, “China Grove” (#15 Billboard Hot 100 Hit). The Captain and Me also featured a guest performance by future Doobie Brothers and Steely Dan guitarist Jeff “Skunk” Baxter. The Doobie Brothers fourth studio album, What Were Once Vices Are Now Habits released in 1974 spawned the Tom Johnston penned songs, “Another Park, Another Sunday” (#32 Billboard Hot 100 Hit) and “Eyes of Silver” (#52 Billboard Hot 100 Hit). The album also featured Pat Simmons penned tribute to “The Big Easy,” “Black Water” (#1 Billboard Hot 100 Hit -1975). Stampede released in 1975 was the final album before Michael McDonald took over lead vocalist duties from an ailing Tom Johnston. The album featured the cover version, “Take Me in Your Arms (Rock Me A Little While)” (#11 Billboard Hot 100 Hit -1975) written by the Motown team of Holland-Dozier-Holland. Subsequent albums …Takin' It to the Streets (1976), Livin' on the Fault Line (1977), Minute by Minute (1978) and One Step Closer (1980) featured a successful second incarnation of the band, which primarily consisted of Michael McDonald(vocals, keyboards) Patrick Simmons (guitars/vocals) Jeff “Skunk” Baxter (guitars, steel guitars), Tiran Porter(bass, vocals), John Hartman (drums) and Keith Knudsen (drums). *Tom Johnston played and sang “Turn It Loose” and “Wheels of Fortune” on the album Takin' It to the Streets. John McFee was added to the Doobie Brothers lineup in 1979 replacing Jeff “Skunk” Baxter and was featured on One Step Closer. After a successful run, the band's signature sound and direction became disillusioned. While working on his solo project, Tom Johnston rejoined the band for a Farewell Tour, and then the Doobie Brothers would call it quits as a band for the next five years. The reformation of the Doobie Brothers was contrived when the band's alumni were asked by drummer Keith Knudsen to perform at a concert to benefit veterans' causes. The band discovered that tickets were in great demand and soon embarked on a twelve-city tour.   In 1989, Cycles, the tenth studio recording by the Doobie Brothers, now on Capitol Records, witnessed the return of Tom Johnston and drummer Michael Hossack to the studio as a band. Tom Johnston's distinctive vocals returned, and the band re-established their musical roots. Subsequent releases … Brotherhood (1991), Sibling Rivalry (2000) and World Gone Crazy (2010). World Gone Crazy was the Doobie Brothers highest charting album since 1989 receiving rave reviews and featuring the longtime core lineup of Tom Johnston and Pat Simmons. The Doobie Brothers band functions like a well-oiled machine, touring consistently year after year and enchanting music enthusiasts worldwide. The current lineup of Tom Johnston (vocals/guitar), Pat Simmons (vocals/guitars), John McFee (guitar/strings/vocals), John Cowan (bass), Guy Allison (keyboards/vocals), Marc Russo (saxophones), Ed Toth (drums) and Tony Pia (drums)… represent a musical legacy that defines the quintessence of rock ‘n' roll and a band that we've always depended on throughout the years. The Doobie Brothers have sold more than 40-million albums worldwide. …So why aren't they in the Rock and Roll Hall of Fame?   Tom Johnston and the Doobie Brothers will be performing live as part of the Bands, Brew & BBQ concert series at Busch Gardens in Tampa on Sunday, February 24th. For tickets visit … http://seaworldparks.com/buschgardens-tampa/Events/Bands-Brew-and-BBQ or call 1-888-800-5447 for further information. Eagle Rock Entertainment recently released ‘Let The Music Play' –The Story of The Doobie Brothers on DVD, Blue-ray and Digital Video. -Available to purchase at amazon.com. I had the great pleasure of speaking with Tom Johnston recently about the band's current and future projects, family, and the future of rock ‘n' roll. Here's my interview with singer/songwriter/guitarist/and founding member of classic rock legends the Doobie Brothers … TOM JOHNSTON.   Support us on PayPal!

DON WILSON THE VENTURES February 10TH 1933 - January 22ND 2022 ‘THE LOST INTERVIEWS' with RAY SHASHO EPISODE 14 -Interviewed June 10th, 2014   Don Wilson and The Ventures have inspired thousands of promising musicians and enthusiasts across the globe for over five decades, and many of their pupils became legendary in the music world. Ventures alumni include… Jeff Beck, Eric Clapton, George Harrison, Jimmy Page, Stephen Stills, Joe Walsh, Joe Perry of Aerosmith, Billy Joel, Elton John, John Bonham, Mick Fleetwood, Jeff “Skunk” Baxter, Gene Simmons, and many-many more. At 81, Don Wilson, guitarist & co-founder of the legendary rock and roll/surf band says he has no plans for slowing down any time soon. The Ventures recently concluded a lengthy tour in Japan where they are still idolized. Don and his son Tim Wilson have also initiated a new record label with promising young musicians to mentor and promote.  THE VENTURES are the best-selling instrumental rock band in music history. In 1958, the group was formed by Tacoma, Washington residents Don Wilson (rhythm and lead guitar) and Bob Bogle (lead and bass guitar). The duo's plan was to earn a permanent living playing guitar instead of working at their hard labor construction jobs as bricklayers. They originally performed as the Impacts and the Versatones before finally settling on The Ventures. Nokie Edwards (lead guitar) joined in 1960 and they recorded their first big hit, a Chet Atkins cover entitled “Walk, Don't Run.” The Ventures lineup in the studio also included Skip Mooreon drums. In 1960, the song peaked at #2 on the Billboard's single chart amid stiff competition from Chubby Checker, Roy Orbison, Elvis Presley, and Bryan Hyland. Drummer Howie Johnson replaced Moore in 1960. Mel Taylor became The Ventures permanent drummer in 1962 until his passing in 1996. From 1960 through 1972, The Ventures consistently toured worldwide and charted 37 albums. The group was hailed as America's instrumental Beatles. Some of The Ventures  hit singles include … “Telstar,” “The Lonely Bull,” “Rebel-Rouser,” “Honky Tonk,” “Let's Go,” “Pipeline,” “Walk, Don't Run,” “Tequila,” “Apache,” “Wipe-Out, ”Memphis,” “Out of Limits,” and their mega-hit … “Hawaii Five-O” (#4 on Billboard's Singles Chart -1969), (The album reached #11 on Billboard's album chart). The Ventures were inducted into the Rock and Roll Hall of Fame in 2008. That same year also marked The Ventures 50th Anniversary. Here's a list of incredible accomplishments by The Ventures … Rock and Roll Hall of Fame - Class of 2008 Ranked #4 among all-time instrumental artists on Billboard's Single Charts Ranked #6 among all 1960s artists on Billboard's Album Charts Ranked #26 among all-time artists on Billboard's Album Charts Ranked #20 in most albums on Billboard's Album Charts with 37 “Walk, Don't Run” is one of Rock and Roll Hall of Fame's Top 500 Hits of all time  1960 to 1969 - Placed 14 singles on Billboard's Single Charts   Gold singles: “Walk, Don't Run (1960), “Walk Don't Run '64” (1964), “Hawaii Five-0” (1969),  1960 to 1972 - Placed 37 albums on Billboard's Album Charts with 5 on the charts simultaneously during 1963. Gold albums: Telstar and the Lonely Bull (1963), Golden Greats (1967), Hawaii Five-0 (1969) To date, more than 450 LP and CD albums released worldwide (and still counting) 1960 to 1973 - Sold nearly 1,000,000 albums per year in the U.S.  Japan sales approaching 40,000,000 units (and still counting) Collective worldwide sales approaching 100,000,000 units (and still counting) 1964 - Popularized Mosrite Guitars with introduction of The Ventures Model. Today these are among the most sought-after guitars, known for their tone and playability. Successfully adapted their unique guitar style to countless changes in musical trends Released an acclaimed set of instructional records with the Play Guitar with The Ventures series Cited affectionately as "the group that launched a thousand bands" Credited with popularizing rock and roll and the electric guitar in Japan 1971 - First non-Japanese artists elected to the Japanese Conservatory of Music Jan 1987, Guitar Player magazine 20 Anniversary Issue cited Walk Don't Run as one of "20 Essential Rock Albums" 1990 - Inducted into the Washington State Music Hall of Fame Feb 1996, Guitar magazine identified “Walk Don't Run” as one of ten 1960's albums included in “The Fifty Greatest Rock Guitar Records" (albums) Inducted into the Hollywood Rock Walk  Invited to participate in the Smithsonian Institution's celebration of the development of the electric guitar Honored by Fender Guitars with a limited-edition line of Ventures Model Jazzmaster, Telecaster and Jazz Bass signature guitars 2001 - Honored by Aria Guitars with limited-edition Ventures Model guitars 2004 - Award by Japanese Ministry of Foreign Affairs for contributing to friendly relations between Japan and US. No other artists in modern music share this honor 2005 – Washington State Senate Resolution 8645 to honor The Ventures, to "recognize the contributions of those who have had a significant impact over the evolution, development and perpetuation of rock and roll" 2006 – “Walk, Don't Run” is inducted into The Grammy Hall of Fame Numerous contributions to movie and commercial soundtracks, including ‘Pulp Fiction' and ‘Madagascar' The Ventures have reached over 100- Million in record sales, 14-songs that hit the singles chart, and 37 albums that charted. The band continues to record and tour with their current lineup of …Don Wilson (rhythm guitar- co-founder 1958), Nokie Edwards (lead guitar -joined 1960), Gerry McGee (lead guitar –joined 1968), Bob Spalding (lead and bass guitar –joined 1981), Leon Taylor (drums – joined 1996 after the passing of his father Mel Taylor). Co-founder, lead and bass guitarist Bob Bogle passed away in 2009. Drummer Mel Taylor passed away in 1996. I had the rare privilege of chatting with Don Wilson back in June about … The “Walk, Don't Run" legacy … The early days of The Ventures … Their devoted Japanese fans … My infamous ‘Field of Dreams' question …The inception of “Hawaii Five-O”… And much-much more! Here's my interview with The Ventures legendary guitarist, co-founder, pioneer …DON WILSON.   Support us on PayPal!

Join your host @TheBuzzKnight on this Classic Replay episode with a man who has been a part of #MusicHistory.  Jeff "Skunk" Baxter is one of Rock Music's Finest guitarist's known for playing with Steely Dan and The Doobie Brothers. He is a member of The Rock & Roll Hall of Fame and he continues touring and creating new music. If you have questions, comments or suggestions share them at buzz@buzzknightmedia.com. Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like this show? Please leave us a review here. ReviewSee omnystudio.com/listener for privacy information.

Join your host @TheBuzzKnight on this Classic Replay episode with a man who has been a part of #MusicHistory.  Jeff "Skunk" Baxter is one of Rock Music's Finest guitarist's known for playing with Steely Dan and The Doobie Brothers. He is a member of The Rock & Roll Hall of Fame and he continues touring and creating new music. If you have questions, comments or suggestions share them at buzz@buzzknightmedia.com. Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like this show? Please leave us a review here. ReviewSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

In Part 2 of our interview and feature with the phenominal Jeff "Skunk" Baxter, we focus on his years with Steely Dan and talk about the multi-Grammy award winning album (Minute by Minute) by The Doobie Brothers.  We'll also get Jeff's insights on his awesome solo album Speed of Heat and dive into his thoughts on the music industry today.  Be sure to listen to our other shows featuring current and former Doobies on Episodes 18, 44, 75, 128 and 167.  In our showcase segment, we look back at the career of Electric Light Orchestra's keyboardist Richard Tandy who passed away on May 1, 2024.  Tandy's playing was an important part of ELO's sound, playing various keyboard instruments and adding vocals on many songs.    World-class musicians...world-class shows, from your friends at Classic Artists Today! 

GARY WRIGHT 'THE LOST INTERVIEWS' EPISODE 4 with RAY SHASHO Gary Wright (April 26, 1943 – September 4, 2023)   Gary Wright is a celestial keyboard virtuoso, idyllic songwriter, and vocalist with powerful soulful pipes. Wright is an innovator of the synthesizer and over the years has managed to condense his many synthesized melodies into a single keyboard strapped around his neck. Although born and raised in Cresskill, New Jersey, Wright founded the British rock group Spooky Tooth in 1967. Wright would later become most recognized for his two solo hit singles “Dream Weaver” in 1975 and “Love Is Alive” in 1976.  Gary Wright will be joining the ‘Sail Rock 2013' tour along with Christopher Cross, Orleans, Firefall, John Ford Coley, Robbie Dupree and Player beginning August 5th in West Allis, Wisconsin. Visit Pollstar.com for all the latest concert dates.  SPOOKY TOOTH: Gary Wright joined the band 'Art' in 1967. The ‘V.I.P.'S' morphed into 'Art' after several lineup changes since its inception in 1963. The British R&B music ensemble had featured various distinguished musicians including Mike Harrison, Greg Ridley, Jimmy Henshaw, Keith Emerson, Luther Grosvenor, Walter Johnstone and Mike Kellie.  Keith Emerson (The Nice, ELP) left in 1967 when the name was changed to Art. The band eventually turned into Spooky Tooth with a lineup of Wright (organ, keyboards, and vocals), Harrison (vocals, keyboards) Ridley (bassist), Grosvenor (guitar, vocals) and Kellie (drums). In 1968, Spooky Tooth released their debut album entitled … It's All About. The album featured covers by Janis Ian and Bob Dylan. Most of the other tracks were either written or co-written by Gary Wright. The bands next release Spooky Two (1969) released on Island Records was hailed by critics as one of their finest recordings. The album featured many of the bands standards including “Evil Woman” and “Better by You, Better Than Me” a tune written by Wright and eventually covered by Judas Priest in 1978. Spooky Tooth quickly became a highly sought concert attraction and a mainstay on progressive rock radio. The band shared the stage with such legendary music acts as Jimi Hendrix and The Rolling Stones. Bassist Greg Ridley left in 1969 to join Humble Pie, Andy Leigh replaced him.  Also in 1969, the group released Ceremony (Spooky Tooth and Pierre Henry album) a progressive collaboration with the French electronic composer. Session musician: Wright left Spooky Tooth briefly to produce albums for Traffic and Rolling Stones producer Jimmy Miller and his production company. Gary Wright became an esteemed session musician and was asked to play on George Harrison's triple- album set All Things Must Pass (1970). Wright and Harrison began a long lasting friendship and musical collaboration that included Wright playing or sharing songwriting tasks on several of Harrison's subsequent albums including … Living in the Material World (1973), Dark Horse (1974), Extra Texture (Read All About It)(1975), Thirty Three & 1/3(1976), George Harrison(1979), Cloud Nine (1987). The Last Puff album (1970) primarily featured Mike Harrison while Wright focused on other projects. The release featured an incredible cover version of The Beatles, “I Am The Walrus.” Joe Cocker Grease Band members Henry McCullough, Chris Stainton and Alan Spenner were brought into the studio to work on the album. In 1971, Gary Wright performed “Two Faced Man” with George Harrison on the Dick Cavett Show. He also played piano on Harry Nilsson's #1 hit, a Badfinger cover tune entitled, “Without You.” In 1972, Gary Wright and Mike Harrison reformed Spooky Tooth with a different lineup. The new lineup featured future Foreigner founder and guitarist Mick Jones. Subsequent Spooky Tooth albums … (You Broke My Heart So I Busted Your Jaw (1973), Witness (1973), The Mirror (1974) and Cross Purpose (1999) (Reunion album without Wright, Greg Ridley returned). Spooky Tooth disbanded in 1974. Gary Wright and George Harrison visited India in 1974 as a guest of Ravi Shankar. Wright developed a long-term relationship with Shankar after the visit. SOLO CAREER: Gary Wright released two critically acclaimed solo albums on A&M Records … Extraction in 1971 and Footprint in 1972. Wright signed a record deal with Warner Brothers Records in 1974 and achieved his biggest commercial success with the release of The Dream Weaver album (1975). The single “Dream Weaver” reached #2 on Billboard's Hot 100 singles chart and #1 on the Cash Box charts. The album also spawned the hit “Love is Alive” (1976) reaching #2 on Billboard's singles chart. The album peaked at #7 on Billboard's Hot 100 albums chart. The song “Dream Weaver” has been spotlighted on numerous television shows and motion pictures. “Love is Alive” was covered by several legendary artists including … Chaka Khan, Joe Cocker and Richie Havens.  The Dream Weaver album featured guest musicians …guitarist Ronnie Montrose, drummers Jim Keltner and Andy Newmark, Hammond organist David Foster and Bobby Lyle on additional synthesizers. In 1981, Gary Wright scored again commercially with “Really Wanna Know You” (#16 Billboard Singles Hit). Gary Wright Solo albums … Extraction (1971), Footprint (1972), The Dream Weaver (1975), The Light of Smiles(1977), Touch and Gone (1978), Headin' Home (1979), The Right Place (1981), Who I Am (1988), First Signs of Life (1995), Human Love (1999), Waiting to Catch the Light (2008), The Light of a Million Suns (EP) (2008), Connected (2010). In 2004, Wright, Harrison and Kellie reunited Spooky Tooth for several concerts in Germany. As a result of their triumphant return, they released the Nomad Poets DVD in 2007. The same lineup played a series of European dates in 2008. Most recently: Gary Wright toured with Ringo Starr and His All-Star Band in 2008. In 2010, Wright released his latest studio album entitled Connected and features guest artists … Ringo Starr, Joe Walsh and Jeff “Skunk” Baxter. Gary Wright is currently writing his 'memoir' for the Penguin Group and should be available sometime near the end of 2014. I had the great pleasure of chatting with Gary Wright recently about ‘Sail Rock 2013,' Spooky Tooth, George Harrison, the music business, metaphysics and much-much more.   Support us on PayPal!

Jeff "Skunk" Baxter is one of the elite guitarists today.  He was inducted into the Rock and Roll Hall of Fame as a member of The Doobie Brothers.  His career on the national scene was launched in 1968 as a member of Ultimate Spinach.  In 1972, Skunk became a founding member of Steely Dan, playing on their first three albums.  Joining the Doobies in 1974, after doing session work on several of their earlier albums, he was with the band until 1979.  Most of his musical career was dedicated to doing session work for many other bands and artists.  In our November of 2023 interview, multi-award winning program director Ray White caught up backstage with Jeff before a show supporting his 2022 album Speed of Heat.  We touched on a series of highlights from his early days, stints with Steely Dan and The Doobie Brothers, and about his latest solo album and tour.  You won't want to miss this episode!  We close our show with the latest from The Doobie Brothers.  Their latest single is "Lahaina" was recorded to benefit families and individuals affected by the 2023 Hawaii wildfires.  Be sure to listen to our other shows featuring current and former Doobies' on Episodes 18, 44, 75 & 128.  World-class musicians (always) right here on the CAT!!  

108.9 The Hawk returns on Thursday, February 1st! Friend of the show, Trip Larson (PAUL SCHEER) from Trip's Dips stops by to talk about the latest in hot tub and hot sauce deals at his store. Whisp asks Trip to play the game "HOT TUB OR HOT SAUCE."  Sponsored by The New Megabuffet at Sharney's! 108.9 The Hawk Concert Calendar brought to you by Jeff Skunk Baxter's Ponytail Warehouse! Val Verde Pizza & Brewing! Infinite Succulants! C.R.A.B.! Guest Starring: Paul Scheer (Human Giant, How Did This Get Made?, Unspooled, Black Monday) as Trip Larson! Val Verde Pizza & Brewing written and performed by Emily Gore. 108.9 The Hawk was created, written and performed by Jason Gore and Geoff Garlock. Listen. Subscribe. Tell your friends. Support The Hawk at https://patreon.com/1089thehawk! Bonus episodes! Hawk episodes one week early! So much more! Learn more about 108.9 The Hawk at 1089thehawk.com! Subscribe! Tell your friends about 108.9 The Hawk! GET THAT HAWK MERCH: http://tee.pub/lic/goodrockshirts   FOLLOW US ON YOUTUBE https://www.youtube.com/@1089thehawk SOCIAL SIGHTS: https://twitter.com/1089thehawk https://instagram.com/1089thehawk https://www.tiktok.com/@1089thehawk https://bsky.app/profile/1089thehawk.bsky.social https://www.threads.net/@1089thehawk

He may very well be the most interesting man in the music industry. He's also the topic of this week's show. From Music To Missiles: The Story Of Jeff "Skunk" Baxter... For more info on the program, visit reelinwithryan.com

The former Steely Dan and Doobie Brothers Guitarist talks about the amazing people he worked with and one guitarist habit that drives himn crazy.If you would like to donate to "Rock History Music" https://www.paypal.com/donate/?hosted_button_id=VB2DNTLWAK8RNJoin our Patreon to get early access to our videos https://www.patreon.com/RockHistoryChannelsHELP SUPPORT ROCK HISTORY MUSIC..CHECK OUT OUR STORE FOR T-SHIRTS, MUGS ETC https://rock-history-music-store.creator-spring.comOur Instagram account https://www.instagram.com/rockhistorymusic/?hl=enCHECK OUT OUR TIKTOK CHANNEL https://www.tiktok.com/@johnbeaudin80Check out the ‘Rock History Book' PodcastSpotify - https://open.spotify.com/show/0LYdVTfmXN5khxXor8TzPg?si=9OY8tLroRJ6iVgGeUwe6yAiHeart “Rock History Music” Podcast https://www.iheart.com/podcast/269-rock-history-book-80154771/Tune-In “Rock History Music” Podcast https://tunein.com/podcasts/p1419168/Our Apple Podcast Apple Podcast https://podcasts.apple.com/ca/podcast/rock-history-book/id1560259111We have 3 active channelsRock History Music - https://www.youtube.com/channel/UChUv5CZuAuh08DfHA8klNSARock History Book - https://www.youtube.com/channel/UCDKUUfqq_iuwk63pZEUOTIQRock History Canada - https://www.youtube.com/channel/UCFpz17zDi5ShOVQBiNZV8xASupport the show

Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper.Recorded in front of a live audience at 21Soho, London, on November 27th 2023. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper.Recorded in front of a live audience at 21Soho, London, on November 27th 2023. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

It's another chapter in The Dialogue Series - A chill ‘n chat with authors, fellow podcasters, musicians, and more. Two very special guests joining us: Stacy Widelitz and John DeNicola.Widelitz is an Emmy nominated composer and songwriter. He co-wrote the smash hit from the soundtrack to the 1987 film Dirty Dancing – “She's Like The Wind” sung and co-written by the film's star Patrick Swayze. Widelitz was nominated for an Emmy for his contributions to ABC's World of Discovery, and has written compositions for various films and made-for-TV movies, including Disney's Pocahontas II. DeNicola is an Oscar & Golden Globe winning, Grammy-Nominated songwriter and producer. He is the co-writer behind two of the most enduringly successful songs in music history - “(I've Had) The Time of My Life” and “Hungry Eyes”, also from the Dirty Dancing soundtrack. Widelitz and DeNicola are here to talk about their amazing careers, their songwriting process, and the massive success of Dirty Dancing. Widelitz has a great story about meeting Ray Manzarek of The Doors, and his friendship with Jeff “Skunk” Baxter of Steely Dan and Doobie Brothers fame, who is also a missile defense consultant! DeNicola tells us about his love of The Beatles, how he helped to launch the career of Maroon 5, and the new documentary he's working on about on Peter Lewis of Moby Grape.StacyWidelitz.comStacy Widelitz's Instagram PageJohn-Denicola.comOmadRecords.comFourth Wall / Omad Records Merch PageWatch "Float On Hope" Featuring the 'Mouse From Manaus'Dirty Dancing Demos Facebook PageTaylorSimonKing.com----------BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Jeff Skunk Baxter's guitar sound helped shape Steely Dan, The Doobie Brothers and many other artists. However, this The post Skunk Baxter appeared first on The Strange Brew .

If you've been monitoring the vibes, you'll know that 1970s and '80s rock is having a resurgence. Jeff "Skunk" Baxter, who played with Steely Dan and the Doobie Brothers, talked to Jeremy about his Boston roots and his upcoming show. Plus: Kurt Faustin of the Dropout Summit, also happening this weekend, talks to Paris about the things we don't learn in school.

On this episode of the Takin' A Walk podcast, Buzz Knight talks to Jeff Skunk Baxter, the legendary guitarist from Steely Dan and The Doobie Brothers. *****Thank you so much for listening to the TAKIN’ A WALK PODCAST SHOW hosted by Buzz Knight! Listen to more honest conversations with a compelling mix of guests ranging from musicians, authors, and insiders with their own stories. Get inspired, get motivated, and gain insights from honest conversations every week that can help you with your own journey. Follow us on Facebook, Twitter, and Instagram, and be part of this blessed family. Website: https://takinawalk.com/ Twitter: https://twitter.com/thebuzzknight LinkedIn: http://linkedin.com/in/buzzknight Linkfire: https://lnk.to/takinawalk Please consider subscribing, leaving a review, and sharing it with your friends and family!See omnystudio.com/listener for privacy information.

On this episode of the Takin' A Walk podcast, Buzz Knight talks to Jeff Skunk Baxter, the legendary guitarist from Steely Dan and The Doobie Brothers. *****Thank you so much for listening to the TAKIN’ A WALK PODCAST SHOW hosted by Buzz Knight! Listen to more honest conversations with a compelling mix of guests ranging from musicians, authors, and insiders with their own stories. Get inspired, get motivated, and gain insights from honest conversations every week that can help you with your own journey. Follow us on Facebook, Twitter, and Instagram, and be part of this blessed family. Website: https://takinawalk.com/ Twitter: https://twitter.com/thebuzzknight LinkedIn: http://linkedin.com/in/buzzknight Linkfire: https://lnk.to/takinawalk Please consider subscribing, leaving a review, and sharing it with your friends and family!Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

This week-Ask Lovely Maria, interview with Jeff "Skunk" Baxter from the Doobie Brothers and Steely Dan, shitting on the toy hall of fame, Confessions, embrace your cringe and...Fuck you Switzerland!

Jeff Skunk Baxter guests on this brand new Fake Show with host Jim Tofte...enjoy!!!

Profound musical artist talks about honoring this country as a defense contractor and "freedom fighter" with Ultimate Spinach, Tim Buckley and Steely Dan. Rikki Don't Lose That Number...

The iconic Jeff “Skunk” Baxter returns for Part II of our interview with the man we all know as Doobie Brother and founding member of Steely Dan. But we explore so much more, from the early session days, throughout the yacht rock era, a bit o' disco, and everything else, up to the present day and the release of his solo album, “Speed of Heat.” Join us, as we begin by jumping into the Wayback Machine... Lightning Round: Found at Sea Buried Treasures Off the Map References and Related: John's Spotify Yacht Rock Playlist Tom's Spotify Yacht Rock Playlist Yacht or Nyacht? The Official Yachtski Scale Playlist of songs featured on Out of the Main Intro/outro music: Adrian by Page 99 Find and Follow: The Mainland: YachtRockPodcast.com Facebook: https://www.facebook.com/yachtrockpodcast Twitter: https://twitter.com/yachtrockpod YouTube: https://www.youtube.com/@yachtrockpodcast Anchors Aweigh (Support the Podcast): https://podcasters.spotify.com/pod/show/yachtrockpodcast --- Support this podcast: https://podcasters.spotify.com/pod/show/yachtrockpodcast/support

John and Tom are extremely honored to welcome the legendary “Skunk” Baxter to the podcast. Sure, you may know him from Steely Dan, Doobie Brothers and more, but do you know him as Paulinho da Costa stand-in, jingle composer, Donna Sommer influencer, and consultant to the U.S. Department of Defense? Most recently, you should have his latest album on your release radar...it's pure

Legendary Rock and Roll Hall of Fame guitarist of the Doobie Bros &  founding member of the band Steely Dan   In 1972 he became a founding member of the band Steely Dan, along with guitarist Denny Dias, bassist Walter Becker, keyboardist-vocalist Donald Fagen, drummer/vocalist Jim Hodder and vocalist David Palmer. Baxter appeared with Steely Dan on their first three albums, Can't Buy a Thrill in 1972, Countdown to Ecstasy in 1973, and Pretzel Logic in 1974. He contributed the guitar fills and signature solo heard on the group's highest charting hit " Rikki Don't Lose That Number."  in 1974 to join The Doobie Brothers, who at the time were touring in support of their fourth album What Were Once Vices Are Now Habits. As a session man, he had contributed pedal steel guitar on Vices as well as "South City Midnight Lady" on its predecessor, The Captain and Me. Baxter's first album as a full member of the group was 1975's Stampede. He contributed an acoustic interlude ("Precis") and significant turns on slide and pedal steel guitar.

Jeff “Skunk” Baxter has been called ‘the most interesting man in music' by NPR and it's not hard to figure out why. A virtuoso guitar player and member of the Rock & Roll Hall Of Fame, Skunk is a founding member of the iconic Steely Dan, and later joined The Doobie Brothers, bringing his friend Michael McDonald into the band as their new lead singer, leading to the height of their commercial success. His playing on songs like “Rikki Don't Lose That Number” and “What A Fool Believes” are just two stellar examples of his work with those groups. As an in-demand session player, Jeff's guitar work can be heard all over all-time iconic classics like the solos on Donna Summer's “Bad Girls” & “Hot Stuff;” Dolly Parton's “9 To 5” and classics by Eric Clapton, Rod Stewart and Joni Mitchell. On top of all that, Jeff is also a ballistic missile defense specialist and a counter-terrorism expert who works as a consultant for the US Department of Defense - shattering the stereotype of your typical Rock & Roll Hall Of Fame guitar player.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Friend of the show, Trip Larson (PAUL SCHEER) from Trip's Dips stops by to talk about the latest in hot tub and hot sauce deals at his store. Whisp asks Trip to play the game "HOT TUB OR HOT SAUCE." Sponsored by The New Megabuffet at Sharney's! 108.9 The Hawk Concert Calendar brought to you by Jeff Skunk Baxter's Ponytail Warehouse! Val Verde Pizza & Brewing! Infinite Succulants! C.R.A.B.! Guest Starring: Paul Scheer (Human Giant, How Did This Get Made?, Unspooled, Black Monday) as Trip Larson! Val Verde Pizza & Brewing written and performed by Emily Gore. 108.9 The Hawk was created by Jason Gore & Geoff Garlock. The Hawk is launching a Patreon on 5/1! Learn more here: https://www.youtube.com/watch?v=NcavJVG5g6M Get all things 108.9 The Hawk at ⁠1089thehawk.com⁠! GET THAT 108.9 THE HAWK MERCH: ⁠http://tee.pub/lic/goodrockshirts  ⁠ SOCIAL SIGHTS: ⁠https://twitter.com/1089thehawk⁠ ⁠https://instagram.com/1089thehawk⁠

Music and interview show with Jeff “Skunk” Baxter of Ultimate Spinach, Holy Modal Rounders, Steely Dan and the Doobie Brothers

At the beginning of each year, we at Second Act Stories like to take a look back at the incredible interviews we shared and pick one episode that truly exemplifies the surprising, inspiring and eye-opening nature of a fascinating career change. This “Best of” show gives us an opportunity to re-share a remarkable story, and it welcomes new listeners by giving them a good taste of what we do here: profile people who have made major life and career changes to pursue a more rewarding life in a second act career. The numbers spoke for themselves this year. Without question, the episode our listeners downloaded the most was our interview with rock and roll legend Jeff “Skunk” Baxter. Skunk was the founding lead guitarist in Steely Dan, and he was inducted into the Rock and Roll Hall of Fame as a member of the Doobie Brothers. As a hired gun, he's played with a who's who of music royalty, including Linda Ronstadt, Donna Summer, Elton John, Eric Clapton, Ringo Starr, Dolly Parton, Carly Simon… the list goes on and on. From the time he was a child, the mechanically inclined Baxter loved taking things apart to see how they worked and putting them back together. He became an expert guitar repair technician and built custom guitars. He traded a custom white Fender Stratocaster he built in the 1960s to Jimi James, who would later re-emerge as the legendary Jimi Hendrix. In the 1980s, Skunk parlayed his more-than-casual interest in all things technical into a career as a missile defense consultant. After writing a paper that was quickly classified, he received the necessary clearances and now regularly consults with the U.S. government, the Pentagon and the Joint Chiefs on topics including counterterrorism and wargaming. Skunk recently released a new solo album, his first, called Speed of Heat. We hope you enjoy this encore presentation – the Best of 2022 episode of Second Act Stories – our exciting deep dive into the second act of one of rock's greatest guitarists.

Guitarist Jeff “Skunk” Baxter was an original Steely Dan member who played on the band's indelible first three albums: Can't Buy a Thrill, Countdown to Ecstasy and Pretzel Logic. Those are his memorable solos on “My Old School” and “Rikki Don't Lose That Number.” When Steely Dan quit touring, he found more success with the Doobie Brothers and eventually brought in singer Michael McDonald, who pushed that band in a more soulful, keyboards-heavy direction. Skunk left to do more studio and touring work and was inducted into the Rock & Roll Hall of Fame with the Doobies. After all these years, he finally released his first-ever solo album, Speed of Heat. Oh, and in his "day job," he games out war scenarios for the U.S. government. He has a lot to reel in in this ear-opening Caropop conversation.

If you would like to donate to "Rock History Music"https://www.paypal.com/donate/?hosted_button_id=VB2DNTLWAK8RNSupport “Rock History Music” on Patreonhttp://patreon.com/rockhistorychannelsCheck out Jeff's new album on his website https://www.jeffskunkbaxter.comOur Entire Interview With Jeff, From Steely Dan To The Doobie Brothers, Part 2, The Jeff "Skunk" Baxter Interview - https://youtu.be/ttYAIFK9rAUHere is our podcast with Jeff https://www.buzzsprout.com/1741489/11383238Check out our first entire video interview with Jeff “Skunk” Baxter here https://youtu.be/OWJuOM98jTIYou can download our first podcast to the entire interview with Jeff here https://www.buzzsprout.com/1741489/10675811HELP SUPPORT ROCK HISTORY MUSIC..CHECK OUT OUR STORE FOR T-SHIRTS, MUGS ETChttps://teespring.com/stores/rock-history-music-store?page=1OUR NEW INSTAGRAM ACCOUNT https://www.instagram.com/rockhistorymusic/Check out the ‘Rock History Book' Podcast https://open.spotify.com/show/0LYdVTfmXN5khxXor8TzPg?si=9OY8tLroRJ6iVgGeUwe6yAhttps://podcasts.apple.com/ca/podcast/rock-history-book/id1560259111https://www.iheart.com/podcast/269-rock-history-book-80154771/https://tunein.com/podcasts/p1419168/We have 4 active YouTube Channels featuring John Beaudin Subscribe to this (RockHistoryMusic) Channel https://www.youtube.com/channel/UChUv5CZuAuh08DfHA8klNSA?view_as=subscriberRockHistoryBook -Top 10 Rock & Pop Hit Lists https://www.youtube.com/channel/UCDKUUfqq_iuwk63pZEUOTIQRockHistoryCanada‚  Interviews & Current Music News From Top Canadian Acts. https://www.youtube.com/channel/UCFpz17zDi5ShOVQBiNZV8xANail Sheet‚ More on the Pop Music Side plus TV & Movie News & Interviews. https://www.youtube.com/channel/UCym2UeR9FWDLty6UaVbbX7w/featuredRockers with hidden talents. https://youtu.be/64x1klBjwjQThe Great Interviews, Former Eagles Guitarist Bernie Leadon, Part 1https://youtu.be/8OXFMnrAKjUFive Rockstars With Very Famous Fathers https://youtu.be/cL7loT0YI-k80's Bands That Completely Disappeared, Whatever Happened?https://youtu.be/oMgvI7oAPCMWhat Ever Happened To Ace of Base? "Rock History Book"https://youtu.be/0MlGG0URJFM5 Big Lead Singers Who Died Without Much Fanfare - Rock History Book - Part 5 

Welcome to the Instant Trivia podcast episode 582, where we ask the best trivia on the Internet. Round 1. Category: 1990s Business 1: In 1992 Hughes Aircraft Co., a division of this automaker, agreed to buy part of General Dynamics. General Motors. 2: This company's 1st restaurant in China served nearly 40,000 people the day it opened April 23, 1992. McDonald's. 3: In 1995 this apparel company reintroduced "The Fruits" who'd starred in its ads in the 1970s. Fruit of the Loom. 4: In 1995 NBC and this giant software company announced plans for an all-news television channel. Microsoft. 5: This Colorado-based brewer introduced Zima Clearmalt in 1992. Coors. Round 2. Category: They Were Expelled 1: This star of "Casablanca" was booted out of Phillips Academy for uncontrollably high spirits. Humphrey Bogart. 2: Perhaps responding "nevermore", this poet was expelled from West Point in 1831 for refusing to attend drills. Edgar Allan Poe. 3: Once publisher of the USA's largest newspaper chain, he was expelled from Harvard in 1885 for insulting his professors. William Randolph Hearst. 4: Assassinated in August 1940, this Russian Communist leader was expelled in his youth for howling at his teacher. Trotsky. 5: The leading actress of her time, in 1860 she was expelled from a Paris convent school for making fun of a bishop. (Sarah) Bernhardt. Round 3. Category: Working Without Annette 1: Before teaming with Annette Funicello, Frankie Avalon appeared in this 1960 John Wayne western (not as Davy). The Alamo. 2: With no help from Annette, Frankie Avalon was born in this year in which Germany invaded Poland. 1939. 3: With Annette nowhere in sight, Frankie Avalon played a 39-year-old Teen Angel in this 1978 musical film. Grease. 4: Annette Funicello did not do backing vocals on this 1959 Frankie Avalon hit song about a Roman goddess. "Venus". 5: Annette Funicello was not on board when Frankie starred in this 1961 sci-fi "voyage" directed by Irwin Allen. Voyage to the Bottom of the Sea. Round 4. Category: National Monuments 1: The USA's largest national monument, this state's Misty Fjords, consists of glaciers and long, deep fjords. Alaska. 2: This Wyoming formation has a base diameter of about 1,000 feet and a summit diameter of about 275 feet. Devils Tower. 3: This Wyoming monument contains an 865-foot-high fluted column of igneous rock. Devils Tower. 4: Castillo de San Marcos in this Florida city is the oldest masonry fort in the continental U.S.. St. Augustine. 5: Arizona's Tuzigoot National Monument is one of these villages defined as consisting of multilevel adobe dwellings. a pueblo. Round 5. Category: Boys In The Band 1: Mick Jagger,Keith Richards.Mick Taylor. The Rolling Stones. 2: Pete Townshend,Roger Daltrey,John Entwistle. The Who. 3: Roger Waters,David Gilmour,Nick Mason. Pink Floyd. 4: Michael McDonald,Patrick Simmons,Jeff "Skunk" Baxter. The Doobie Brothers. 5: Walter Becker,Donald Fagen,Jeff "Skunk" Baxter. Steely Dan. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

As we circle back to 1973, it's yesterday once more. Chances are you didn't have a lot of money. Perhaps you were just looking for the right place where peaceful waters run, your own Shambala. Maybe you were looking to re-connect with a missing family member, asking the question “Has anybody seen my brother Louie?” Were you just an uneasy rider on a long train running searching for your perfect diamond girl? You would only express your anguish behind closed doors, clutching your only Kodachrome picture of her. As you looked off into the distance, the smoke on the water cleared and you realized that there has got to be a morning after. In this episode we go back around in circles and look at the Billboard chart from July 28, 1978. Alright then, let's get it on! Link to a listing of the songs in this week's episode: https://top40weekly.com/1973-all-charts/#US_Top_40_Singles_Week_Ending_28th_July_1973 Also, a few interesting links to things we talked about in the episode: Bill Zuber's Restaurant in Amana, Iowa: https://iowalum.com/bill-zubers-restaurant-in-amana-iowa/ Rosebud Indian Reservation: https://en.wikipedia.org/wiki/Rosebud_Indian_Reservation Tony Orlando & Dawn: Show #1 (1974): https://www.youtube.com/watch?v=x3yYgwHY9Kg Shaft In Africa (1973) Official Trailer: https://www.youtube.com/watch?v=VzjteiKTNz4 Doobie Brothers' Jeff “Skunk” Baxter and Rory Gallagher having a beer backstage : https://www.pinterest.co.uk/pin/rory-gallagher-jeff-skunk-the-steely-dan-the-doobie-brother-great-session-man--388294799113562260/ 1978 edition of Right On! Magazine featuring a “super centerfold” poster of Foster Sylvers: https://www.pinterest.com/pin/from-the-archives-michael-tops-the-list-of-most-eligible-bachelors-in-this-1978-edition-of-right-on--638807528391867093/ Deep Purple Podcast Episode #152 Deep Purple In the Charts (Special Guest Star Pete!): https://deeppurplepodcast.com/2022/03/14/episode-152-deep-purple-in-the-charts/ Deep Purple Podcast Episode #45, Weird Versions of “Smoke on the Water” (Part 1): https://deeppurplepodcast.com/2020/03/02/episode-45-weird-versions-of-smoke-on-the-water-part-1/ Deep Purple Podcast Episode #147 – Weird Versions of Smoke on the Water (Part 2) :https://deeppurplepodcast.com/2022/02/07/episode-147-weird-versions-of-smoke-on-the-water-part-2/ Andrews Sisters Boogie Woogie Bugle Boy (from the movie “Buck Privates”): https://www.youtube.com/watch?v=8of3uhG1tCI

The Mitch Lafon and Jeremy White Show welcome Jeff Skunk Baxter and Derek Sherinian!  In part 1 of this episode, we talk to Legendary Rock and Roll Hall of Fame guitarist Jeff “Skunk” Baxter, known to millions from his groundbreaking work with Steely Dan and the Doobie Brothers, and from countless smash hit recordings he's performed on as an in-demand, first-call studio musician, has announced that his first-ever solo album, Speed of Heat, released worldwide via BMG/Renew Records! Part 2 features the one and only Derek Sherinian! The new studio album from world acclaimed keyboardist Derek Sherinian, (Sons of Apollo, Black Country Communion), ‘Vortex', is out now! On the new album Sherinian is once again joined by legendary drummer Simon Phillips, who co-wrote and co-produced the album, as well as Tony ‘The Fretless Monster' Franklin, on bass.  Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.

We HEAT things up with another great Two-nami in the forecast this week with 2 in a row featuring Jeff Skunk Baxter!  We'll hear a tune featuring him on lead guitar with The Ventures as well as one from his new album, Speed Of Heat.  Beth Riley has a HOT deep track from The Beach Boys in her Surf's Up: Beth's Beach Boys Break and as always we'll drop a coin in the Jammin James Jukebox to hear our selection of The Week (also connected to The Beach Boys).  Plus, there's rockers from Billy F. Gibbons, The Aqua Velvets, Elliot Kendall, The Bradipos IV (produced by Surfer Joe), The Green Reflectors, R. Dean Taylor, The Angry Red Planet, La Luz, The Beach Berserkers, The Wave Chargers, The Beths, Surfer Boy, Surf Monster and Stephen Schijnes!     Intro music bed: "Catch A Wave"- The Beach Boys   The Bradipos IV- "Endless Bummer" Surf Monster- "Cowabunga" La Luz- "San Fernando Shadow Blues" The Angry Red Planet- "The Crawling Eye" Surfer Boy- "Surfing The Net" The Beths- "Silence Is Golden" Elliot Kendall- "Honda Bike" The Wave Chargers- "Eddie Would Go"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Hot Fun In The Summertime" Follow "Surf's Up: Beth's Beach Boys Break" HERE   R. Dean Taylor- "Surfer's Call" The Beach Berserkers- "One Summer (To Rule Them All)" Billy F. Gibbons- "Stackin' Bones" The Green Reflectors- "Auggie Poole Party"   Two-Nami: The Ventures (with Jeff "Skunk" Baxter on lead guitar)- "Bombora" Jeff "Skunk" Baxter- "Apache"   Jammin' James Jukebox selection of the week: Kenny & The Cadets- "Barbie"   The Aqua Velvets- "Bravado" Stephen Schijnes- "Trans-Pacific Beach Bum"   Outro Music Bed: Eddie Angel- "Deuces Wild"

My guest this week is producer, songwriter and keyboardist CJ Vanston. CJ Vanston started doing jingles in Chicago where he soon became a first call player, doing as many as six sessions a day. After moving to Los Angeles, he worked with a wide variety of artist like Toto, Def Leppard, Prince, Joe Cocker, Tears For Fears, Spinal Tap Ringo Starr, Bob Seger BB King, Celine Dion Barbra Streisand, Dolly Parton among many others. He's also worked on films like Waiting For Guffman, Best In Show, Sweet Home Alabama, A Mighty Wind, Mascots and more. CJ has also written and performed pieces for the Dalai Lama and Muhammad Ali, and most recently y co-wrote, co-produced and performed on Jeff “Skunk” Baxter's 2022 solo release called Speed of Heat. During the interview we talked about how he got the nickname CJ, getting started in the studio scene, learning to engineer and mix, and much more. I spoke with CJ via zoom from his home in the Hollywood Hills. On the intro I'll take a look at the ruling that finally gives songwriters a retroactive raise, and the camera that can see vibrations and record multiple instruments separately. var podscribeEmbedVars = { epId: 83459851, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

Jeff “Skunk” Baxter is a rock and roll legend. He was the founding lead guitarist in Steely Dan, and he was inducted into the Rock and Roll Hall of Fame as a member of the Doobie Brothers. As a hired gun, he's played with a who's who of music royalty, including Linda Ronstadt, Donna Summer, Elton John, Eric Clapton, Ringo Starr, Dolly Parton, Carly Simon… the list goes on and on. From the time he was a child, the mechanically inclined Baxter loved taking things apart to see how they worked and putting them back together. He became an expert guitar repair technician and built custom guitars. He traded a custom white Fender Stratocaster he built in the 1960s to Jimi James, who would later re-emerge as the legendary Jimi Hendrix. In the 1980s, Skunk parlayed his more-than-casual interest in all things technical into a career as a missile defense consultant. After writing a paper that was quickly classified, he received the necessary clearances and now regularly consults with the U.S. government, the Pentagon and the Joint Chiefs on topics including counterterrorism and wargaming. Skunk just released a new solo album, his first, called Speed of Heat. Please enjoy our exciting deep dive into the second act of one of rock's greatest guitarists. Photo credit for main image: Joel Manduke

We welcome an incredibly fascinating individual in Skunk Baxter to Celebrity Salute. Skunk Baxter is an American guitarist, known for his stints in the rock bands Steely Dan and The Doobie Brothers during the 1970s and Spirit in the 1980s. More recently, he has worked as a defense consultant and advised U.S. members of Congress on missile defense. Randy and Skunk talk about all of this and much more in this great interview.

This Morning turkeys be turkeys, we grab some food on F, U Or Both, there are some great Senior Pranks and joining us are Dr. Russo on monkeypox, Jeff "Skunk" Baxter & Mitch Flynn from the Ride For Roswell.See omnystudio.com/listener for privacy information.

Check out Jeff's new album on his website https://www.jeffskunkbaxter.comCheck out our entire video interview with Jeff “Skunk” Baxter here https://youtu.be/OWJuOM98jTIWe have 4 active YouTube Channels featuring John Beaudin Subscribe to this (RockHistoryMusic) Channel https://www.youtube.com/channel/UChUv5CZuAuh08DfHA8klNSA?view_as=subscriberRockHistoryBook -Top 10 Rock & Pop Hit Lists https://www.youtube.com/channel/UCDKUUfqq_iuwk63pZEUOTIQRockHistoryCanada‚  Interviews & Current Music News From Top Canadian Acts. https://www.youtube.com/channel/UCFpz17zDi5ShOVQBiNZV8xANail Sheet‚ More on the Pop Music Side plus TV & Movie News & Interviews. https://www.youtube.com/channel/UCym2UeR9FWDLty6UaVbbX7w/featuredRockers with hidden talents. https://youtu.be/64x1klBjwjQThe Great Interviews, Former Eagles Guitarist Bernie Leadon, Part 1https://youtu.be/8OXFMnrAKjUFive Rockstars With Very Famous Fathers https://youtu.be/cL7loT0YI-k80's Bands That Completely Disappeared, Whatever Happened?https://youtu.be/oMgvI7oAPCMWhat Ever Happened To Ace of Base? "Rock History Book"https://youtu.be/0MlGG0URJFM5 Big Lead Singers Who Died Without Much Fanfare - Rock History Book - Part 5 https://youtu.be/KUShr304U7k5 Huge Musicians Who Died In Plane Crashes. https://youtu.be/Lc2Aj1cDD4A

John McFee of The Doobie Brothers is nearing nearly 30 years as a full-time member of the Rock and Roll Hall of Fame band.  This multi-instrumentalist was a co-founder of Southern Pacific and played with numerous notable musicians including Elvis Costello, Van Morrison, Huey Lewis and The Grateful Dead.  In November of 2008 multi-award winning program director Ray White caught up with John at his hotel, before hitting the stage, to talk about several highlights of his musical career, life as a "Doobie," and the amazing craftmanship that only the band can deliver.  The Doobie Brothers latest album is Liberte.  In our "showcase segment" we feature another "brother" who played full-time with the band from 1974 to 1979 - Jeff "Skunk" Baxter.  He was also in Steely Dan and has played on albums by over two dozen top performers.  His brand new album is titled Speed of Heat.  We close out this show with Joseph Williams who has been lead vocalist for Toto on over a half-dozen of their albums since 1986 and has nearly a dozen solo albums during his career, with the latest titled Denizen Tenant.  World-class musicians...you'll find them Sittin' In With The CAT!  

Jeff "Skunk" Baxter guests on this brand new Fake Show with host Jim Tofte...enjoy!!!

Colleen talks to Steely Dan and Doobie Brothers guitarist, Jeff Skunk Baxter about his solo album!

The Doobie Brothers is a band with almost twenty official members throughout its five decades of existence. But Tom Johnston and Pat Simmons have been playing guitar and performing vocals for the band since Day One. Tom and Pat talk with Marc about how their family-like band has grown and evolved throughout the years, particularly during iterations with members like Jeff “Skunk” Baxter and Michael McDonald. Also, during his time in Tulsa, Marc pays a visit to the new Bob Dylan Center and talks with its director, Steven Jenkins. See omnystudio.com/listener for privacy information.

The first half is all about Ukraine/Russia/defense and the second half is all about Skunk's musical career. You may or may not know that Skunk has worked with the defense department for decades. As for his musical endeavors...hear the inside story on Steely Dan, the Doobie Brothers and more! See omnystudio.com/listener for privacy information.

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Host Bill Donohue welcomes longtime NBA point guard Muggsy Bogues, who played for four teams during his 14-season career, talks about his new book, The Doobie Brothers and more! Later, Bill talks with Steely Dan guitarist and Department of Defense guru, Jeff “Skunk” Baxter.

It's The Whisp Turlington Morning Show! With Whisp Turlington and... Greg? Whisp and Geoff are interrupted by Val Verde City Inspector Tracy Chapman (Mike Cabellon), no relation! Will 108.9 The Hawk have to shut everything down or will the City Inspector find a new calling? Blue Collar Comedian Denny Snood stops by to promote his weekend stand at Dingbats and his new Val-Mart exclusive record, "There's No Need For That, Vol. 1!" Brought to you by Shetland Creameries, Bron-Yr-Aur Stone, Jeff Skunk Baxter's Ponytail Warehouse, DJ Tony Toni Tearsinheaven: Wedding DJ and Buckingham & Knopfler's Fantastic Fingerfood Feastery! Guest Starring: Mike Cabellon (NBC's Mr. Mayor, Story Pirates, Orange Is The New Black) as Tracy Chapman, no relation! Please tell your friends to listen to the dumbest comedy podcast about classic rock radio! Get all things 108.9 The Hawk at our brand new website: 1089thehawk.com! GET THAT 108.9 THE HAWK MERCH: http://tee.pub/lic/goodrockshirts SOCIAL SIGHTS: https://twitter.com/1089thehawk https://twitter.com/goodrockfacts https://instagram.com/goodrockfacts

He's a humble man, Jeff “Skunk” Baxter - and my opinion of him will most likely make him uncomfortable, but he stands tall among guitar mortals, in this world he is a Guitar God to many. He's In The Rock & Roll Hall of Fame He's played with nearly everyone who's anyone in music, and you know his distinct guitar skills in The Doobie Brothers + Steely Dan He Chairs the U.S. Congressional Advisory Board on Missile Defense His new solo album is soon to be released - Speed of Heat - - - slated for release June 17 Our friend Rock & Roll Hall of Famer Jeff "Skunk" Baxter premieres his new song, "My Old School" today on the show, first time on the radio! The Original Song was by Steely Dan on the Album Countdown to Ecstasy Released in 1973 Skunksnew take on the song is releasing this Friday, 3/18 There will also be singles releasing 4/15 (“My Place In The Sun”) and 5/13 (“Apache”) (Tentatively) https://www.facebook.com/skunkbaxter

The Eminent Hipsters didn't have time to record an actual episode this week, so here's Kid Charlemagne discussing the king, Jeff "Skunk" Baxter.

My special Guest is Ritch Esra - The Founder & Publisher of Music Registry Bussiness Since 1992, Ritch Esra has been running the Music Business Registry which includes The A&R Registry, The Publisher Registry, The Music Business Attorney Registry, The Artist Managers Registry and The Film and Television Music. For 30 Years! For more than three decades Ritch has continually published the most up-to-date contact information directories available for music business professionals and those serving the industry.  Stay current. Stay relevant. Get licensed or signed. From 1981-1987, Ritch was director of West Coast A&R for Arista Records. He signed The Thompson Twins to their US Deal as well as Mara Getz. He worked extensively with the publishing and songwriting communities for material for Whitney Houston, Aretha Franklin, Dionne Warwick, Melissa Manchester, Tanya Tucker, Jennifer Warnes and Jermaine Jackson. He also coordinated music for the “Ghostbusters” and “Perfect” soundtracks. He produced the award-winning educational video for artists and musicians, “How to Get a Record Deal.” “At the time, it was the only video of its kind examining the frequently misunderstood process from five different perspectives: record company executives, A&R VPs, artist managers, record producers and 16 major artists including: Los Lobos, Mark Knopfler, Phil Collins, Jody Watley, Karla Bonoff, Michael Bolton, Fleetwood Mac, Chick Corea and Kenny Loggins,” says Ritch. Producers Phil Ramone and Jeff “Skunk” Baxter are also interviewed in the video. Ritch has organized and coordinated the events and activities of The Independent Music Conference in Los Angeles sponsored by BMI. The three-day symposium addressed problems facing recording artists, including publishing, management, touring, obtaining record deals and exploring alternative ways to bring music to the public. www.musicregistry.com There's no directory of this kind anywhere in the world.” If you need support or help from MusiCares https://www.musicares.org

A.K.A. 'that episode about Jeff "Skunk" Baxter'. "A Jools singularity." Further listening… O - Made Man Skero - Fußboi Five Finger Death Punch - Fire In the Hole Van Halen - Fire In the Hole Jools Holland interviewing John Lurie

Marc Bonilla is an American guitarist and composer. He has worked with Keith Emerson (including on 1995's Changing States and in 2006-2016 was featured in the Keith Emerson Band), Ronnie Montrose, Glenn Hughes (on Addiction (produced, co-written and performed), The Way It Is, 1999, also playing keyboards), David Coverdale (late 2000 live band) and Kevin Gilbert (Toy Matinee live band). He also appears on the Emerson, Lake & Palmer tribute album Encores, Legends & Paradox (Magna Carta Records, 1999) and a spoken word album with comedian Bobby Gaylor for Atlantic entitled "Fuzzatonic Scream" including the controversial single, "Suicide" in 1998.     *******SUBSCRIBE/RATE/REVIEW!!! www.richredmond.com/listen   The Rich Remond Show is sponsored by: Big Dot Lighting - Commercial LED Lighting Specialists   -and-   Bruce Cline Home Loans & Mortgage Refinance | Movement Mortgage www.musiciansmortgage.com           He has released a number of solo albums. Among them, EE Ticket (Reprise, 1991), and American Matador (Warner Brothers, 1993), which includes covers of "A Whiter Shade of Pale" and "I Am the Walrus" with guest Ronnie Montrose.   Bonilla currently plays in California Transit Authority,[3] a project led by former Chicago drummer, founding member and Rock n' Roll Hall of Famer Danny Seraphine, featuring some updates to early Chicago songs as well as new material and has currently completed the follow-up album of all original material. He has also produced, co-written and performed with the Keith Emerson Band's new album. In addition, he tours with Eddie Jobson's UZ Project as singer, guitarist and bassist.[4] Bonilla is originally from the San Francisco Bay area and, along with Joe Satriani, was one of the preeminent rock guitar teachers in the Bay area during the 1980s. Bonilla moved to LA in the early 1990s to work on TV and movie scoring working with James Newton Howard, John Debney, and others, earning an Emmy nomination in 2001. In addition, he had cameo roles in the 1997 television series Nightman about a crime-fighting sax player, for which he was the musical director and acted as a performer (with his band) in several episodes under the alias Marc Bonilla and Dragonchoir. He has done guitars for numerous films such as The Replacements, The Scorpion King, Spider-Man 2, Iron Man 2, Green Lantern, The Bourne Legacy, and composed and performed the music on the hit series, Justified, on FX channel, with keyboardist Steve Porcaro (Toto). He also composed for Comedy Central's The Nightly Show with Larry Wilmore. He also lectured at LA's Guitar Institute of Technology (GIT). He now lives in Los Angeles with his wife and son and has recently completed a new ground-breaking album with Keith Emerson titled The Three Fates Project with the Munich Radio Orchestra, conducted by Maestro Terje Mikkelsen and has finished work on an album Beyond The Stars - Keith Emerson with the Academy of St Martin in the Fields and also the follow-up long-awaited third guitar instrumental album called Celluloid Debris available exclusively at marcbonillamusic.com. He also currently tours with Harry Shearer (aka Derek Smalls from Spinal Tap) playing guitar, bass and mandolin.   Aside from his work as a musician, Bonilla was also a graphic artist, who did album cover designs for Ronnie Montrose, with his 1986 solo album Territory and with his band Montrose, the 1987 album Mean.   Some Things That Came Up:    -Marc’s NFL Helmet Collection completed after a 37 year commitment  -A tour of Marc’s Studio  -Creating a vacuum for future successes -Meeting Ronnie Montrose and Keith Emerson at a young age  -Working with Toy Matinee and then James Newton Howard  -Recording on films like Falling Down, Waterworld, etc.  -Emmy Awards and Theme Songs  -Our mutual love of drummer Denny Carmassi  -Inspiration is a river that flows through you from the Universe  -Creativity flows from a relaxed state of mind  -Composers, Foley Artists and Music Editors all working as a team  -3 Fates Project and The Munich Orchestra  -Music and Tapping Into Spirituality  -All Star Tribute to Keith Emerson concert available NOW! Fanfare For The Uncommon Man:   A new concert film and album documenting the May 2016 tribute show honouring the late Keith Emerson. The Official Keith Emerson Tribute Concert is available as a four-disc set featuring DVD and two CDs capturing the entire two-and-a-half-hour event and a disc of Bonus interviews.Available at: www.cherryred.co.uk. The show featured a roster of rockers including Steve Lukather, Steve Porcaro, Eddie Jobson, Jordan Rudess,  Brian Auger, Jeff “Skunk” Baxter, Vinnie Colaiuta, Marc Bonilla, Gregg Bissonnette, CJ Vanston, Troy Luccketta, Rachel Flowers, Terje Mikkelsen, Philippe Saisse, Travis Davis, Ed Roth, Mike Wallace, Mick Mahan, Karma Auger, Rick Livingstone, Jonathan Sindelman, Joe Travers, Kae Matsumoto, Aaron Emerson, Dan Lutz, and Michael Fitzpatrick. All proceeds from the release will benefit the Dystonia Medical Research Foundation, a charity that focuses on treating and finding a cure for dystonia, a debilitating neurological ailment that Keith battled. -A new skillset and revenue stream as a voice actor for Kubota, Ford, Chevy and major feature film trailers. -Turning negative into positive and staying prepared and empowered.  Get the DVD here:  cherryred.co.uk   The HD Digital Download is available at:  fanfarefortheuncommonman.com/   -The Balance of Power Guitar Book    Follow: www.marcbonillamusic.com IMDB: https://www.imdb.com/name/nm0094633/         The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich’s exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com    

June talks candidly about the racism she dealt with as a child growing up in the Philippines, and the ensuing struggles she had once she came here to America. Although Fanny was composed of talented musicians who made really cool rock and roll, unfortunately they were a bit ahead of their time - the inability of mainstream America, to accept an all-girl band, prevented them from getting the recognition they deserved. As a result, June felt an ongoing and constant internal and external pressure on her, and she ultimately quite the band to try and figure out what this all meant, in the grand scheme of her life June shared LOADS of cool stories about working with Dr. John, Cher, and Bonnie Raitt… her friendship with Jeff “Skunk” Baxter and Lowell George… embracing Buddhism and her ongoing journey of self-improvement and trying to figure it all out. Incredibly energetic conversation with an incredibly strong woman - an icon who helped change the face of music, this was a real treat! If you’d like to support this show: http://www.everyonelovesguitar.com/support June was the co-founder, singer, songwriter and lead guitar player of the rock group Fanny. In 1970, Fanny became the first all-female rock band to release an album on a major label. June also runs the Institute for Musical Arts, an organization she co-founded in 1986 to support women and girls in music and music-related business Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/

Many people ask me about the mods on my '57 Les Paul, and notice what Jeffrey did to my vintage Strat, as well. Yes, he did all those! When I met "Skunk," I didn't know he played guitar (around 1970). Guitarist Lowell suggested I pay him a visit, to do work in some of my new (old) guitars. And there a deep friendship was born. At the time, the band he was in, Steely Dan, was recording their first album, but no one had heard of them. After a few seasons - and a few hits - Jeff left that band to join the Doobie Brothers, and brought Michael McDonald in with him. There are too many stories, too many chapters to tell, but Jeff and I got down to the nexus of this conversation quickly: our deep friendship and respect for each other, with guitar stories thrown in. Enjoy! ~ June --- Support this podcast: https://anchor.fm/june-millington/support

From power chords to missile defense. Jeff “Skunk” Baxter has managed to bridge two very specialized careers in his extraordinary life. Who would have thought that the guitar mastermind behind Steely Dan and The Doobie Brothers has also been part of the Civilian Advisory Board for Ballistic Missile Defense and the NASA Exploration Systems Advisory Committee? Better yet, this is only a fraction of Jeff Baxter’s tremendous career(s). YoungNostalgiaPod@gmail.com — https://en.wikipedia.org/wiki/Jeff_Baxter

This show follows my seeing the Newport Beach "super band" 'Side Deal' at the Barclay Theater at UC Irvine. Side Deal features members of The Pawnshop KIngs, Sugar Ray and Train, and were joined this night by Jerry Harrison of the Talking Heads and Jeff "Skunk" Baxter of the Doobie Brothers! ENJOY!!

Guest Host Ryan Werner joins us to peel into the layers of Doobie Bros. history. Reshaped by Steely Dan alumni Michael McDonald and Jeff "Skunk" Baxter, the Doobs are in top pop form on this 1978 LP.  If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks! 

Yacht Rock host and former Allmusic writer "Hollywood" Steve Huey joins Joe & Kristen to advocate for current nominees and multi-faceted classic rock staples The Doobie Brothers. Also discussed in this episode is the creation/explosion of the Yacht Rock web series, being a talking head for VH1, and Jeff "Skunk" Baxter's political leanings. This show is part of Pantheon Podcasts.

Yacht Rock host and former Allmusic writer "Hollywood" Steve Huey joins Joe & Kristen to advocate for current nominees and multi-faceted classic rock staples The Doobie Brothers. Also discussed in this episode is the creation/explosion of the Yacht Rock web series, being a talking head for VH1, and Jeff "Skunk" Baxter's political leanings. This show is part of Pantheon Podcasts.

Yacht Rock host and former Allmusic writer "Hollywood" Steve Huey joins Joe & Kristen to advocate for current nominees and multi-faceted classic rock staples The Doobie Brothers. Also discussed in this episode is the creation/explosion of the Yacht Rock web series, being a talking head for VH1, and Jeff "Skunk" Baxter's political leanings. This show is part of Pantheon Podcasts.

Yacht Rock host and former Allmusic writer "Hollywood" Steve Huey joins Joe & Kristen to advocate for current nominees and multi-faceted classic rock staples The Doobie Brothers. Also discussed in this episode is the creation/explosion of the Yacht Rock web series, being a talking head for VH1, and Jeff "Skunk" Baxter's political leanings. This show is part of Pantheon Podcasts.

Interviewed by Special Host Mike Gormley Celebrating over a half-century as music legends, famed music business manager Mike Gormley interviews John Zambetti of The Malibooz in this exclusive interview! Be sure to catch The Malibooz at The Libby Bowl in Ojai on Aug. 31. Get your tickets here: http://libbeybowl.org John Zambetti and Walter Egan are celebrating forty years of making music together as The Malibooz. Formed in the “surf mecca” of New York City, The Malibooz proved to be a major attraction on the Eastern seaboard from 1964-66. They recorded an EP in 1965 and the single “Goin' To Malibu” in 1965. This led to appearances at The New York State World's Fair. First, at the New York State Pavilion and then as part of the first color TV broadcast live from the RCA Pavilion. In the Fall of 1966 John, Walter, & drummer Tom Scarp entered Georgetown University. The band became known as Sageworth. By 1970, Sageworth had become the top draw in the Washington, D.C. area opening for acts such as Jefferson Airplane, The Grateful Dead, The Allman Brothers, and Poco, and culminating with an appearance before an estimated 500,000 people at the Washington Monument during the march on Washington. In 1971, John began medical school in NY and continued to do clubs, occasional concerts, and session work. During that time he played with people like Emmylou Harris, Rick Roberts & The Flying Burrito Brothers, Jeff “Skunk” Baxter” and Dan Fogelberg. Meanwhile, Walter continued with Sageworth until 1972 when he moved to California to play with Linda Ronstadt and then Jackson Browne all the while honing his original material and pursuing a solo career. In 1975 John and Walter again joined forces to record a duo album which was never released. After completing his medical education, Zambetti moved to California in 1976 to join Egan. The Walter Egan Band was signed to Columbia for five albums and then to MCA. Walter's first two albums, “Fundamental Roll” and “Not Shy” were produced by Lindsey Buckingham and Stevie Nicks. “Not Shy” produced the million-selling hit "Magnet & Steel" which was the American Music Awards nominee for Song of the Year in 1978. In 1998 "Magnet & Steel" appeared in the Golden Globe and Academy Award-winning movie, "Boogie Nights". "Magnet & Steel" has also been used in several other movies including “Deuce Bigelow” as well as in a Toyota commercial. https://www.facebook.com/Malibooz/ Mike Gormley L.A. Personal Development Website: www.lapersdev.com www.facebook.com/mike.gormley.10?fref=ts

Filmmaker Lorenzo DeStefano and his team have created a dynamic and engaging portrait of nearly two years in the life of a tight knit American family, a single mom and her two kids, living paycheck to paycheck in working class Oxnard, California, with Rachel’s stunning music as the soundtrack. “Hearing is Believing” revels in Rachel’s joyous and free-flowing love of song, illuminating the bonds of family and the divine mysteries of creativity. Rachel Flowers is a true survivor, a hyper-abled individual whose inspiring story has the potential to be a beacon of hope out there. Appearing with Rachel in “Hearing is Believing” are Grammy winners Arturo Sandoval, Stevie Wonder, Dweezil Zappa, two-time Grammy nominated jazz pianist, Taylor Eigsti, the late Progressive Rock icon Keith Emerson, Hawaii ukulele master Benny Chong, and 50 members of the Santa Barbara Youth Symphony performing Rachel's original composition, “At The End Of The Day”. Rachel has appeared at the Havana International Jazz Festival (2016), Progfest 2017 & 2018, and at the PDX Portland Jazz Festival (2018). She has shared the stage with Dweezil Zappa, Arturo Sandoval, Taylor Eigsti, Jeff “Skunk” Baxter, Marc Bonilla, Jordan Rudess, Steve Porcaro, Rick Wakeman, Burt Bacharach, Bob Reynolds, Cuban legends Bobby Carcassés, Bellita Y Jazz Tumbatá, and Orlando "Maraca" Valle, the Young Musicians Foundation Debut Orchestra and the Birmingham (UK) Symphony Orchestra. Rachel has performed since her youth for Ray Charles, Stevie Wonder, Quincy Jones, Clark Terry, Herbie Hancock, Herb Alpert, and Wayne Shorter. She has three albums in release – “Listen” (2016), “Hearing is Believing Motion Picture Soundtrack” (2017), and “Going Somewhere” (2018). Rachel is a very active part of several jazz lineups in California and is composing original songs and works for orchestra, jazz combo, piano, and voice. At this point in her eventful musical career she is deeply exploratory, forging a variety of stylings as immensely accomplished as they are uniquely her own.

JEFF “SKUNK” BAXTER played with The Doobie Brothers, Steely Dan, and Spirit Guitar player- AMERICAN VINYL ALL STARS Playing FLYING MONKEY IN PLYMOUTH - TONIGHT Fri March 8th

JEFF “SKUNK” BAXTER played with The Doobie Brothers, Steely Dan, and Spirit Guitar player- AMERICAN VINYL ALL STARS Playing FLYING MONKEY IN PLYMOUTH - TONIGHT Fri March 8th

June was the co-founder, singer, songwriter and lead guitar player of the rock group Fanny. In 1970, Fanny became the first all-female rock band to release an album on a major label. June also runs the Institute for Musical Arts, an organization she co-founded in 1986 to support women and girls in music and music-related business June talks candidly about the racism she dealt with as a child growing up in the Philippines, and the ensuing struggles she had once she came here to America. Although the band was composed of incredibly talented musicians who made really cool rock and roll, unfortunately they were a bit ahead of their time. And the inability of mainstream America, to accept an all-girl band, prevented them from getting the recognition they deserved. As a result, June felt an ongoing and constant internal and external pressure on her, and she ultimately quite the band to try and figure out what this all meant, in the grand scheme of her life. June and shared LOADS of cool stories about working with Dr. John, Cher, and Bonnie Raitt… her warm friendship with Jeff “Skunk” Baxter and Lowell George… embracing Buddhism and her ongoing journey of self-improvement and trying to figure it all out. Incredibly energetic conversation with an incredibly strong woman - an icon who helped change the face of music, this was a real treat Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar

Gestur Füzz í kvöld er Ingólfur Geirdal töframaður og gítarleikari Dimmu. Ingó eins og hann er kallaður fagnar 50 ára afmæli sínu eftir nokra daga og heldur upp á það með því að spila með Dimmu á Hard Rock Café á morgun (laugardaginn 5. maí) og þar verður sérstakur gestur Dennis Dunaway, upprunalegur bassaleikari og lagahöfundur Alice Cooper bandsins. Dennis kemur við sögu á nánast öllum bestu plötum Alice Cooper eins og Love it to death, Killer, School´s Out og Billion Dollar Babies, sem og þeirrri nýjustu; Paranormal. Dennis var vígður inn í Rock´n´Roll Hall of Fame árið 2011 ásamt upprunalega Alice Cooper bandinu og var með Cooper á sögufrægri tónleikaferð í fyrra, þar sem gamla hljómsveitin kom saman. Dimmumenn ætla að taka nokkur klassísk Cooper lög með Dennis á Hard Rock Café á morgun. Ingó mætir með uppáhads ROKKplötuna sína í Fuzz kl. 21. Það má gera ráð fyrir því að hún sé með Alice Cooper. A+B þáttarins er með Green Day Plata þáttarins er svo splunkuný sólóplata Derek Smalls bassaleikara Spinal Tap sem margir muna eftir úr kvikmyndinni This is Spinal Tap. Derek ólst upp í Nilford-on-Null í West-Midlands á Englandi þar sem faðir hans, Donald Duff Smalls rak síma-þrifa-fyrirtækið Sani-Fone. Derek gekk til liðs við Spinal Tap árið 1967 þegar fyrirrennari hans - Ronnie Pudding (búðingur) hætti. Derek valdi 75 ára afmælsdaginn sem til að gefa út þessa fyrstu sólóplötu sína sem heitir Smalls Change (Meditations upon ageing). Platan hefst á Openture þar sem Derek segir- Aldur er bara tala. Tala er bara orð, og orð er bara einhver hlutur. Derek Smalls á marga góða vini í bransanum og þeir eru ýmsir í gestahlutverkum á plötunni hans, en það má nefna Donald Fagen, Rick Wakeman, Paul Shaffer, Richard Thompson, David Crosby, Taylor Hawkins úr Foo Fighters, Chad Smith úr Red Hot Chili Peppers, Joe Satriani og Jeff „Skunk“ Baxter. Við heyrum þrjú lög af þessari nýju plötu með Derek Smalls í þættinum í kvöld. Óskalagasíminn verður opnaður um kl. 20 og Garg-fréttir verða á sínum sínum stað.

Gestur Füzz í kvöld er Ingólfur Geirdal töframaður og gítarleikari Dimmu. Ingó eins og hann er kallaður fagnar 50 ára afmæli sínu eftir nokra daga og heldur upp á það með því að spila með Dimmu á Hard Rock Café á morgun (laugardaginn 5. maí) og þar verður sérstakur gestur Dennis Dunaway, upprunalegur bassaleikari og lagahöfundur Alice Cooper bandsins. Dennis kemur við sögu á nánast öllum bestu plötum Alice Cooper eins og Love it to death, Killer, School´s Out og Billion Dollar Babies, sem og þeirrri nýjustu; Paranormal. Dennis var vígður inn í Rock´n´Roll Hall of Fame árið 2011 ásamt upprunalega Alice Cooper bandinu og var með Cooper á sögufrægri tónleikaferð í fyrra, þar sem gamla hljómsveitin kom saman. Dimmumenn ætla að taka nokkur klassísk Cooper lög með Dennis á Hard Rock Café á morgun. Ingó mætir með uppáhads ROKKplötuna sína í Fuzz kl. 21. Það má gera ráð fyrir því að hún sé með Alice Cooper. A+B þáttarins er með Green Day Plata þáttarins er svo splunkuný sólóplata Derek Smalls bassaleikara Spinal Tap sem margir muna eftir úr kvikmyndinni This is Spinal Tap. Derek ólst upp í Nilford-on-Null í West-Midlands á Englandi þar sem faðir hans, Donald Duff Smalls rak síma-þrifa-fyrirtækið Sani-Fone. Derek gekk til liðs við Spinal Tap árið 1967 þegar fyrirrennari hans - Ronnie Pudding (búðingur) hætti. Derek valdi 75 ára afmælsdaginn sem til að gefa út þessa fyrstu sólóplötu sína sem heitir Smalls Change (Meditations upon ageing). Platan hefst á Openture þar sem Derek segir- Aldur er bara tala. Tala er bara orð, og orð er bara einhver hlutur. Derek Smalls á marga góða vini í bransanum og þeir eru ýmsir í gestahlutverkum á plötunni hans, en það má nefna Donald Fagen, Rick Wakeman, Paul Shaffer, Richard Thompson, David Crosby, Taylor Hawkins úr Foo Fighters, Chad Smith úr Red Hot Chili Peppers, Joe Satriani og Jeff „Skunk“ Baxter. Við heyrum þrjú lög af þessari nýju plötu með Derek Smalls í þættinum í kvöld. Óskalagasíminn verður opnaður um kl. 20 og Garg-fréttir verða á sínum sínum stað.

The Beatles Multi-Track Meltdown features stripped down, deconstructed mixes of classic Beatles songs, live cuts, solo material, demos, and much more. By highlighting different instruments and vocals you will experience these songs in a way that you've never imagined. To celebrate the release of my latest book, The Steely Dan FAQ: All That's Left to Know About This Elusive Band, I'm going to stretch out a bit with this show focusing on the music of one of my favorite bands, other than the Beatles. While Walter Becker and Donald Fagen, nor other original Dan members Denny Dias, or Jim Hodder, ever worked with any of the Beatles as solo artists, guitarist Jeff “Skunk” Baxter played on Ringo Starr's 1992 release Time Takes Time on the tracks “All in the Name of Love” and “Runaways,” both produced by Phil Ramone. In 1985 Ramone produced McCartney's “Spies Like Us,” and worked with him on a number of tracks in '86 and '87 that were eventually released as B-sides, as extras on the Japanese 2CD release of Flowers in The Dirt, and on bootlegs. He also produced Julian Lennon's debut album Valotte as well as the follow up The Secret Value of Daydreaming. There is also another strong connection between the two bands: a number of the most in-demand session musicians contributed to albums by Steely Dan and the former members of the Beatles.

NOTE: There's some discontinuities due to editing out multiple call drops-C Bradley Cooper, Boston Bombing, Craft International, Seth Rogan, Jeff Skunk Baxter, Philip Taylor Kramer, Ralph Lauren, Laren Bush, Neil Bush, Chevy Chase, Kathleen Crane, Abigail Folger, John F. Kerry, Jack Valenti, Lyndon Johnson, JFK, Julia Louis-Dreyfus, Peter Sarsgaard,Maggie Gyllenhaal,Glora Vanderbilt, Anderson Cooper, Diana Vreeland,Hugh Waldorf Astor, Frank Sinatra, David Mayer de Rothschild, Intro Music: A Well Respected Man by the Kinks The Boys Are Back In Town by The Cardigans hoabusterscall.com

NEW FOR MAY 1, 2015 Traffic Revolt - The Best Radio You Have Never Heard - Vol. 257 Where there were April showers now bloometh the best May music on the internet . . . 1. Rock and Roll Stew (alt) - Traffic Buy From iTunes* 2. Dear Mr. Fantasy (live) - The Jimi Hendrix Experience w/ Buddy Miles 3. All Along The Watchtower (live) - Dave Mason and Jim Capaldi Buy From iTunes 4. Presence Of The Lord (live) - Eric Clapton, Pete Townshend, Ron Wood, Steve Winwood, Rick Gretch, Jim Capaldi, et al Buy From iTunes 5. Glad / Freedom Rider (live) - Traffic Buy From iTunes* 6. Elk - Martin Gore Buy From iTunes 7. Love Will Tear Us Apart (live) - Joy Division Buy From iTunes* 8. Lark's Thrack (live) - Robert Fripp and the League Of Crafty Guitarists 9. Skunk Blues (live) - Jeff "Skunk" Baxter, Buzzy Feiten, James Herrah, Teddy Castellucci 10. Sultans Of Swing (live) - Mark Knopfler Buy From iTunes* 11. Spectral Mornings 2015 (pb extended mix) - Rob Reed, Christina Booth, Steve Hackett, Nick Beggs, Nick D'Virgilio & David Longdon Buy From iTunes* 12. Can't You Hear Me Knocking (early) - The Rolling Stones Buy From iTunes The Best Radio You Have Never Heard A musical traffic jam in your mind . . . Accept No Substitute Click to join the conversation on the Facebook page.