Podcasts about Judee Sill

Johnny's got a cold but with the help of James, his brother in arms, the boys continue their important work curating the perfect playlist of lost gems and resurrected classics. Artists mentioned include: Karen Dalton, Nick Drake, Bobby Charles, Big Star, Lee Hazelwood, Shuggie Otis, Judee Sill, Dwight Twilley, Marlena Shaw, Link Wray, Scott Walker. 

On this episode of Songs of Our Lives, it's Jason Woodbury! After a quick chat about the connection and influence of writing about music and playing music, plus his new EP with Dad Weed, we get into unfortunate moments with the Bob Seger Band, the lifetime of influence Vince Guaraldi has had, sticking up for The Smiths, Judee Sill's transcendent lyrics, Bill Evans replayability, Bob Dylan, Cocteau Twins, Tom Verlaine + more!Listen to all of Jason's picks HEREJason's WebsiteJason's Substack, “Range & Basin”JPW & Dad Weed “Two Against Nurture”JPW “Raw Action On Route”Transmissions PodcastWastoidsSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

Comedian Dulcé Sloan (The Daily Show) shares some anecdotes from her new book Hello, Friends!: Stories of Dating, Destiny, and Day Jobs, including how becoming fluent in Spanish as a kid turned her into the neighborhood's child lawyer; filmmaker Brian Lindstrom chats about his documentary Lost Angel: The Genius of Judee Sill, which follows the short life of a 1970s folk singer who went from living in her car to the cover of Rolling Stone, before fading into obscurity; and singer-songwriter S.G. Goodman performs the title track from her album Teeth Marks. Plus, host Luke Burbank and announcer Elena Passarello share some under-appreciated artists nominated by our listeners. 

In episode #38 of LLR, we explore and celebrate the deep discographies of some of our favorite artists. We'll revisit surprisingly solid solo efforts, sensational side projects, and often overlooked, audacious LP releases from way-back-when, which gave listeners a taste of the sonic greatness to come. Plug your noses and blow it out your ears, Podcast America…we're about to dive deep! Sonic contributors to episode thirty-eight of Lightnin' Licks Radio podcast include:  Derrick Harriott, Brothers Johnson, Holland-Dozier-Holland, Townes Van Zandt, James Todd Smith, George Gershwin & Michael Sweeney, Johnny Marr, The Smiths, Thin Lizzy, Ace Frehly, M. Ward, Bright Eyes, Monsters of Folk, Rose Royce, Jim Croce, Better Oblivion Community Center, Jim James, Desaparecidos, Modest Mouse, Califone, Ugly Casanova, Kids Bop kids (yeah!), Daryl Hall and John Oates, Dan the Automator, Gulliver, Tim Moore, Bay City Rollers, Adrianne Lenker, Buck Meek, Big Thief, Billy Bob Thorton, Phill Collins, James Taylor, Jackson Browne, Leland Sklar, Russ Kunkel, Kootch, Carol King, The City, Judee Sill, The Byrds, Dillard & Clark, Gram Parsons, Gene Clark, President Joe Biden, The Cars, Ric Ocasek, Ministry, Digable Planets, Beastie Boys, Shabazz Palaces, Latin Playboys, Los Lobos, Chris Keys, and the Clockers. LLR mixtape #38: [SIDE ONE] (1) Shabazz Palaces - #CAKE (2) Latin Playboys - Crayon Sun (3) Gene Clark - Strength of Strings (4) Desaparecidos - City on the Hill (5) Adrianne Lenker & Buck Meek - money [SIDE TWO] (1) Gulliver - Lemon Road (2) Ugly Casanova - Hotcha Girls (3) The City - Paradise Alley (4) Monsters of Folk - Losin' Yo Head Ric Ocasek - Time Bomb Thanks so much for tuning in. LLR will return in a few weeks with another bonus episode featuring a super-special-secret guest. Do your best to stay hydrated and practice selfcare. Making your way in the world today takes everything you've got. Taking a break from all your worries sure would help a lot. Wouldn't you like to get away? Why ask why? Try Blue Chair Bay flavored rums and head outside, let the sun hit you. Stream, rent, or buy the excellent documentary The Immediate Family, it's Kootch approved!

Comedian Dulcé Sloan (The Daily Show) shares some anecdotes from her new book Hello, Friends!: Stories of Dating, Destiny, and Day Jobs, including how becoming fluent in Spanish as a kid turned her into the neighborhood's child lawyer; filmmaker Brian Lindstrom chats about his documentary Lost Angel: The Genius of Judee Sill, which follows the short life of a 1970s folk singer who went from living in her car to the cover of Rolling Stone, before fading into obscurity; and singer-songwriter S.G. Goodman performs the title track from her album Teeth Marks. Plus, host Luke Burbank and announcer Elena Passarello share some under-appreciated artists nominated by our listeners. 

This week, I'm joined by JASON P. WOODBURY (of Aquarium Drunkard) and filmmakers BRIAN LINDSTROM & ANDY BROWN to discuss their incredible new film LOST ANGEL: THE GENIUS OF JUDEE SILL. We talked about Judee Sill's gnostic relationship to her music and how she backed it up in her lifestyle, what our introductions to her music were like, Sill's disdain of being lumped in with Christian Rock & opening for rock bands, her influence on Andy Partridge of XTC, how the filmmakers shaped the film over the past ten years, Tooth & Nail Records, the mythologizing of a subject's life in documentary filmmaking, Asylum Records and her ups and downs with David Geffen, Some Kind Of Monster, Sill's vulnerability and ego in her diary writings and drawings, how they chose to animate Sill's artwork and found her voice, Sill's influence on a new generation of musicians, her iconic Old Grey Whistle Test performance of “The Kiss,” how the film addresses childhood trauma, addiction, and resilience, what parts of Sill's life didn't fit into the film, and the power of Alice Coltrane, Sun Ra, Guided By Voices & SST Records, So join us as we talk about one of the greatest songwriters to ever be part of the cosmos, Judee Sill, on this week's Revolutions Per Movie.WATCH LOST ANGEL: THE GENIUS OF JUDEE SILLhttps://greenwichentertainment.com/film/JASON P. WOODBURY:https://jasonpwoodbury.comREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movies releases new episodes every Thursday. If you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. There, you can get weekly bonus episodes and exclusive goods just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Aphra's music is like a cozy blanket on a chilly night, blending contemporary folk with echoes of 60s and 70s classics like Judee Sill and Karen Dalton. Their songs, driven by folk melodies and rich harmonies, dive deep into personal introspection and vulnerability. With each tune, they create an intimate space where listeners can find comfort and catharsis. Joining Aphra on their musical journey feels like sharing stories with old friends, wrapped in the familiar warmth of timeless melodies and heartfelt lyrics. Some YouTube links here .. Aphra - Tide In/Tide Out Music Video - YouTubeAPHRA – ANGLIA SOUND SESSION [2022] (youtube.com)Pop over to the website A Fine City Podcast (onthehuh.org) it has lots of links to other bands stuff and venues as well as a link to an ever evolving Spotify playlist of Norwich bands material compiled by pod producer Reuben Andrews called La musique de Norwich.chin chin

We all have musicians that we wish everyone else knew about. THAT person who deserves a wider audience, but life circumstances didn't allow for it. Knowledge of that musician seems to be like the secret handshake into a special club. Nick Drake was one of those people until a TV car advertisement that used his music got more people curious....thank goodness. Judee Sill's music is not likely to be used in a car ad. Welcome to episode 116 of See Hear Podcast. When people talk about the musicians of the American West Coast in the early 70s, they talk about Jackson Browne, Carole King, James Taylor, Linda Ronstadt, CSN or Bonnie Raitt. Few people beyond the faithful have spoken about Judee Sill. This leaves fans of Sill scratching their heads because even among those more well known musicians, they recognise Judee was a master songwriter, orchestrator and arranger. Her early life was one filled with abuse, drug use, prostitution, armed holdups, and prison time. It's amazing to think that the lady who lived that life wrote some of the most beautiful music of the pop era (I'll stand on my soapbox and suggest The Kiss is one of the most beautiful songs ever written – change my mind). She mixed country and Bach and gospel into one beautiful package. Sounds unworkable? Check out her albums and get back to me. A new documentary was released this year about Judee called Lost Angel: The Genius of Judee Sill. This episode of See Hear features guests associated with the film. Kerry, Tim and I chat with one of the two directors of the film, Brian Lindstrom. He describes the process it took to make this great film, working with Judee's relatives, the nature of creativity, what her music has meant to current performers, and a lot more. This could easily have been a dark film (and it has its moments), but it really is a celebration of Judee's life and work. Brian and his co-director Andy Brown have made a wonderful tribute to an artist that will hopefully now find a wider audience. But wait.....there's more. The film's music supervisor is Pat Thomas. Pat has quite a few strings to his bow – drummer, album reissue supervisor, historian and author. He joins me for a discussion on the role of a music supervisor in film and specifically what he did for this documentary. Kerry, Tim and I are hugely grateful for the time Brian and Pat gave to us. Give this a listen, then absorb yourself in the albums of Judee Sill. As of May 2024, the film is streaming on Prime, in North America only (grrrr), but I am informed that moves are being made to get a wider distribution for the film....and of course you can always get the DVD anywhere in the world. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have musicians that we wish everyone else knew about. THAT person who deserves a wider audience, but life circumstances didn't allow for it. Knowledge of that musician seems to be like the secret handshake into a special club. Nick Drake was one of those people until a TV car advertisement that used his music got more people curious....thank goodness. Judee Sill's music is not likely to be used in a car ad. Welcome to episode 116 of See Hear Podcast. When people talk about the musicians of the American West Coast in the early 70s, they talk about Jackson Browne, Carole King, James Taylor, Linda Ronstadt, CSN or Bonnie Raitt. Few people beyond the faithful have spoken about Judee Sill. This leaves fans of Sill scratching their heads because even among those more well known musicians, they recognise Judee was a master songwriter, orchestrator and arranger. Her early life was one filled with abuse, drug use, prostitution, armed holdups, and prison time. It's amazing to think that the lady who lived that life wrote some of the most beautiful music of the pop era (I'll stand on my soapbox and suggest The Kiss is one of the most beautiful songs ever written – change my mind). She mixed country and Bach and gospel into one beautiful package. Sounds unworkable? Check out her albums and get back to me. A new documentary was released this year about Judee called Lost Angel: The Genius of Judee Sill. This episode of See Hear features guests associated with the film. Kerry, Tim and I chat with one of the two directors of the film, Brian Lindstrom. He describes the process it took to make this great film, working with Judee's relatives, the nature of creativity, what her music has meant to current performers, and a lot more. This could easily have been a dark film (and it has its moments), but it really is a celebration of Judee's life and work. Brian and his co-director Andy Brown have made a wonderful tribute to an artist that will hopefully now find a wider audience. But wait.....there's more. The film's music supervisor is Pat Thomas. Pat has quite a few strings to his bow – drummer, album reissue supervisor, historian and author. He joins me for a discussion on the role of a music supervisor in film and specifically what he did for this documentary. Kerry, Tim and I are hugely grateful for the time Brian and Pat gave to us. Give this a listen, then absorb yourself in the albums of Judee Sill. As of May 2024, the film is streaming on Prime, in North America only (grrrr), but I am informed that moves are being made to get a wider distribution for the film....and of course you can always get the DVD anywhere in the world. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

To explore the music, life, and genius of the late Judee Sill, as well as discuss the new documentary about her, LA-based musician Aaron M Fernandez Olson sits down with Judee's lifelong friend and fellow musician, Tommy Peltier, and the film's co-director, Brian Lindstrom. Together, they converse on the subject of Judee while listening to her songs. The film, Lost Angel: The Genius Of Judee Sill, will be in select theaters and streamable on April 12, 2024, and you can find Tommy and Aaron playing music around L.A. at various times and places as well. For information on the film's screening dates/times/venues, please visit the film's website. --- Support this podcast: https://podcasters.spotify.com/pod/show/dublab-inconversation/support

Con Robe, los Deltonos, Grasias, Vicky Gastelo, Sen Senra, Los Enanitos Verdes, Fernando Barrientos, Tim Hardin, Karen Dalton, Judee Sill, Jackson Browne, Amy Whinehouse, The Smiths.

Maia Friedman is a multi-instrumentalist and musician who plays in Coco, the Dirty Projectors, and releases solo music. Maia is a Scorpio Sun // Libra Moon // Aquarius Rising. Today we chat about the music and astrology of Leonard Cohen, Judee Sill, and Ludwig van Beethoven.What We Talked About: Coco - 2 (Album) // Coco - Self-titled (Album) // Coco - Mythological Man (Video) // Maia Friedman – First To Love (Video) // Judy Collins - Suzanne (Leonard Cohen Cover) // Judee Sill - The Kiss (Live Video) // Lost Angel: The Genius of Judee Sill (Doc Trailer) // Debussy - Clair de Lune (Song) // Willie Nelson - Stardust (Album) // Jozef van Wissem - A Priori (Album) // Mk.gee - Two Star & The Dream Police (Album) // Mannequin Pussy - I Got Heaven (Album) // Cheekface - It's Sorted (Album) // Coco - Precious Things (Song) ... Check out more of Maia's work! songofcoco.com // maiafriedman.com  // @maiafffff on Instagram.Our theme music is from the song, "Come & Get It" by Flamingosis. Follow us on Twitter and Instagram (@musicstr0l0gy) and check out our website at musicstrologypodcast.com.

In this captivating episode, we delve deep into the world of the enigmatic Judee Sill, exploring her unparalleled talent, turbulent challenges, and enduring musical legacy. Join us as we uncover the behind-the-scenes story with directors Andy Brown and Brian Lindstrom, offering insights into the making of the documentary "Lost Angel: The Genius of Judee Sill." From intimate revelations to artistic revelations, this episode is a must-listen for anyone intrigued by Sill's extraordinary life and the creative minds who brought her story to light. Subscribe to our Youtube Channel HERE. Check out the Official Trailer to the Film. Lost Angel: The Genius of Judee Sill Filmmakers Andy Brown and Brian Lindstrom Documentary - Prime Video Available to rent or buy - Click Here Disclosure: The link provided is an affiliate link. When you make a purchase through this link, I may earn a commission at no additional cost to you. As always, I appreciate your support, and I strive to recommend products and services that I genuinely believe will benefit you. --- Support this podcast: https://podcasters.spotify.com/pod/show/celebrity-spotlight-radio/support

As an addendum to last episode, I interviewed Andy Brown and Brian Lindstrom, the directors of LOST ANGEL: THE GENIUS OF JUDEE SILL, about the decade-long process of bringing their music documentary to life. They chat about the x-factor moment that brought the movie's structure to light, the responsibilities felt from telling the underrated & undervalued Judee's story and what it's like to make a movie about a musician with a less-than-musical background. I'm grateful to Andy and Brian for a wonderful conversation, one which I hope you'll learn from and enjoy! --- Follow The Movies on Twitter: @TheMovies_Pod Follow the podcast on Goodpods: https://goodpods.com/profile/themovies-31104 --- Intro Music: "Cold Open" - Marlowe Outro Music: "The Lamb Ran Away With the Crown" - Judee Sill --- Send in a voice message: https://podcasters.spotify.com/pod/show/themoviespodcast/message

PLUS: Maia Kobabe's graphic novel Gender Queer: A Memoir is the most challenged book in the United States; how China uses WeChat to undermine democracy around the world; Civil War imagines a United States at war with itself; a new documentary tells the story of Judee Sill, a celebrated folk-rock icon only now getting her due; and Riffed from the Headlines, our weekly musical news quiz.

LOST ANGEL: THE GENIUS OF JUDEE SILL is a documentary detailing the life and music of '70s singer-songwriter Judee Sill using as much of her own voice as possible. This could devolve into another talking-heads affair but having Judee's voice narrate and her art take animated flight on screen gives the movie an authenticity and more intimate connection to its subject. Judee was never the type of person to cruise behind her producers, anyway. She always had to have a hand in every affair. Makes sense she'd end up doing so almost 50 years after her death. --- Follow The Movies on Twitter: @TheMovies_Pod Follow The Movies on Goodpods! --- Intro Music: "Cold Open" - Marlowe Outro Music: "Jesus Was a Crossmaker" - Judee Sill --- Send in a voice message: https://podcasters.spotify.com/pod/show/themoviespodcast/message

LOST ANGEL: THE GENIUS OF JUDEE SILL is an intimate documentary portrait of a one-of-a-kind singer-songwriter from 1970s LA – Judee Sill.  It charts her life from a troubled adolescence of addiction, armed robbery and prison through her meteoric rise in the music world and early tragic death. In two years, Judee went from living in a car to a deal with Asylum Records  and the cover of  Rolling Stone. As told by David Geffen, Linda Ronstadt, JD Souther, Jackson Browne and Graham Nash -- along with Judee herself -- the film explores Judee's unique musical style and the inspiring recent rediscovery of her singular music fostered by Shawn Colvin, Robin Pecknold of Fleet Foxes, Adrianne Lenker and Buck Meek of Big Thief, and  Weyes  Blood.   Co-directors Brian Lindstrom and Andy Brown join us for a conversation how they discovered this nearly forgotten artist, their search for archival material on Judee Sill, finding the “right” way to tell her story, and connecting with wide array of artist, young and older who have been inspired by Judee's enduring work. For more go to: lost-angel-the-genius-of-judee-sill In Theaters and On Amazon & Apple TV on April 12

This week on Transmissions, author, producer, archivist, and musician Pat Thomas. In the late '80s, he helped take the Paisley Underground overground with his label Heyday Records. Later, he helped bring out reissues by artists like Judee Sill, Sandy Bull, PiL, and more. And as if all that wasn't enough, he's the author of a number of essential counterculture histories, including 2012's Listen, Whitey! The Sights & Sounds of Black Power 1965–1975, 2017's Did It! Jerry Rubin: An American Revolutionary, and most recently, 2023's Material Wealth: Mining the Personal Archive of Allen Ginsberg. As you'll hear at the top of this episode, he was also the first guest we ever asked to be on Transmissions, only host Jason P. Woodbury hadn't quite got the hang of properly recording interviews. While that ill-fated talk was lost to time, this one isn't. Tune in for more on Ginsberg, the forthcoming Judee Sill documentary Lost Angel, and much more on this all new episode of Transmissions. Just announced: Aquarium Drunkard Transmissions Live! at the Philosophical Research Society in Los Angeles, feat. Will Sheff (Okkervil River) in conversation author Sean Howe, discussing his book on High Times founder Thomas King Forçade. Secure your tickets now. Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. Next week on Transmissions? Moor Mother. For heads, by heads. Aquarium Drunkard is powered by our members. Keep the servers humming and help us continue doing it by subscribing to our online music magazine. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Filmmakers Andy Brown and Brian Lindstrom calls into the podcast to talk about the new film LOST ANGEL : The Genius Of Judee Sill- Releasing in the US/Canada In Theaters and On Amazon & Apple TV on April 12 2024

On this episode, we take you to the red carpet of the 44th Annual Muse Awards presented by New York Women in Film and Television. Featuring interviews with Tantoo Cardinal (Killers of the Flower Moon), Raney Aronson-Rath (Editor-in-Chief FRONTLINE), Alex Borstein (Marvelous Mrs. Mazel, Family Guy), Filmmaker/Actor Kyra Sedgwick, Linda Powell (EVP SAG-AFTRA), and Filmmaker/Actor Jennifer Esposito. We'll also bring you our featured interview with directors Andy Brown and Brian Lindstrom who discuss their latest documentary, Lost Angel: The Genius of Judee Sill which features interviews with David Geffen, Linda Ronstadt, Jackson Browne, Graham Nash, JD Souther,  Shawn Colvin, W eyes Blood, Big Thief, Fleet Foxes and more.  Sponsored by: Blackmagic Design Western Digital JMR Rentals Music by Christopher Gillard Hosted by Jason Godbey Produced by Btrayed Oliver & Jason Godbey Created & Directed by Jason Godbey --- Support this podcast: https://podcasters.spotify.com/pod/show/no-rest-for-the-weekend/support

durée : 00:55:31 - Very Good Trip - par : Michka Assayas - Ce soir, ce sera une seule voix, une seule œuvre, et au bout de cette heure, vous serez à coup sûr convaincu que ce mot peut-être un peu ronflant n'est en rien abusif.

In Wat blijft uitgebreid aandacht voor de opvallende cabaretière Adèle Bloemendaal aan de hand van het boek Aaah! Dèle dat Jacques Klöters over haar schreef. Klöters werkte jarenlang samen met Bloemendaal samen en voerde uitgebreide intiemen gesprekken met haar aan haar keukentafel over seks, geld, misdaad en ouder worden. Niet zelden monden die gesprekken uit in liedjes en conferences in haar programma. Bloemendaal was de strenge meesteres van het cabaret en sleurde haar publiek alle kanten op en met haar opvallende lach. Jacques Klöters spreekt over haar leven en werk met Lara Billie Rense.  Verder in Wat blijft: aandacht voor Surinaams dichter en politicus Dobru, singer-songwriter Judee Sill en schrijver A.S. Byatt. In het tweede uur en de podcastserie van Wat blijft volgt Stine Jense het spoor terug van zeezeiler Henk de Velde. --- Redactie: Laura Iwuchukwu, Nina Ramkisoen, Geerte Verduijn, Maartje Willems Eindredactie: Bram Vollaers

Leo Blokhuis vertelt in deze podcast over de prachtige muziek en het verrotte leven van een min of meer vergeten singer-songwriter die je echt gehoord moet hebben: Judee Sill. Ze maakte begin jaren 70 slechts twee beeldschone platen voor platenmaatschappij Asylum van David Geffen, hetzelfde label waarop bijvoorbeeld ook de Eagles en Jackson Browne hun werk in die tijd uitbrachtten. Nummers als My Man On Love, The Donor en Jesus Was A Crossmaker moet je een keer in je leven hebben gehoord. 

You know Buck from Big Thief and his solo albums, like this year's Haunted Mountain. Full of near-death experiences and tender but insistent roots-inspired songwriting, it's an album that finds inspiration in the mysterious Mount Shasta, long a site of high strangeness—and a place that plays a pivotal role in Buck's own origin story. Cut live to 2”-inch tape, it's a personal and open-hearted record and we're so glad to have Buck here with us, hanging out and discussing Judee Sill, Bob Dylan–but not his work with Bob Dylan, thanks to one of those pesky NDAs, the autonomy preserving creative practices of Adrianne Lenker and Big Thief, working with fellow Texan Jolie Holland—who's also got her own Haunted Mountain album—and the power of reciprocity.  Speaking of reciprocity, Aquarium Drunkard Transmissions is brought to you by Aquarium Drunkard's Patreon community. Join us over there and help support independent media.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.  Next week on Transmissions: electronic musician Moby and his podcast co-host Lindsay Hicks. Be well in the meantime, this Transmission is concluded.

What is a bridge? Songwriters will tell you it's that added piece of a pop song that takes it to another level, adds another layer of intrigue to the musical conversation, and then is gone before you know what hit you in the heartstrings. ATTT is super pumped to welcome back one of our favorite returning guests, the musical mastermind Maurice Bursztynski all the way from wintry Australia. We get into the guts of song craft and have a spirited conversation about how the sausage is made, and we play you some of the best bridges of all time. Picks 10-6 are featured in Top Ten Great Bridges Part 1. Maurice Bursztynski is always up to cool stuff! He produces/co-produces 2 majorly awesome podcasts. Listen to Love That Album and See Hear!https://podcasts.apple.com/us/podcast/love-that-album/id459559336https://podcasts.apple.com/us/podcast/see-hear/id796677164

Our guest this week is Darren Jessee, a singer/songwriter and drummer. In the '90s, he played drums in Ben Folds Five, and he's worked with a number of previous Transmissions guests, including Sharon Van Etten and Hiss Golden Messenger, as well as others like The War on Drugs, Josh Rouse, and Chris Stamey. In 2004, he founded a band called Hotel Lights, and in 2018, he began releasing music under his own name. His latest is called Central Bridge, released earlier this year.  On this episode of Transmissions, Darren joins us for a freewheeling talk about influences, lyrics, creative process, and his time on the road with Ben Folds Five. We discuss a wide range of artists—Tom Waits, Joni Mitchell, Judee Sill, Gordon Lightfoot, and spend a lot of time reflecting on Neil Young, who Ben Folds Five toured with in the 1990s. Along the way, we inspect the notion of how songs change and shape our views, the tenor of the culture wars back in the ‘90s, and the value of occasionally overdoing it.  Transmissions is part of the Talkhouse Podcast network, check out Talkhouse for more great reading and listening. Next week on Transmissions? Music journalist and editor Laura Snapes joins us to discuss regionalism, transcendent moments listening to music, the value of names, varying definitions of “Americana,” Aphex Twin, Cornwall, and much more. Join us then. Be well in the meantime, this Transmission is concluded. 

Welcome back to another episode of Aquarium Drunkard Transmissions, so glad to have you with us. A major inspiration for us in the podcast zone is media theorist Douglas Rushkoff, host of the Team Human podcast. As our digital age gets stranger, more fractured, and harder to parse, we find his humanist, consciousness-centered approach very helpful. One of the things he's known for saying is “Look for the others”—the others who grok your worldview, whose enthusiasms and obsessions mirror your own. And no doubt about it, our guest this week, Andy Zax, feels very much like one of the others. Zax is a lifelong music devotee, and he's worked on pretty much every side of the music business, writing copy and liner notes, producing records, working with labels like Rhino, and generally helping to shine a light on figures like Judee Sill, David Axelrod, Talking Heads, and many more. In 2019, he oversaw the massive Woodstock 50th anniversary project, restoring virtually all the audio associated with the historic concert. For Zax, all of this is something of a holy calling, and its led him to discoveries in unexpected places, like when he found an unreleased recording by electronic pioneer Mort Garson—known these days for the hippest ever music for plants to grow by LP Plantasia—nested in the archive of spoken word artist Rod McKuen. And not just any recording: we're talking “Journey to the Moon,” music Garson composed for the live CBS News broadcast of the Apollo 11 moon landing in 1969. That recording sees release this week via Sacred Bones' Journey To the Moon and Beyond, released on Friday, July 21. Over the course of his long chat, we riff on the value of archived music, music streaming and music technology, audio quality, the merits of keeping your records unorganized, the haunting quality of Leonard Nimoy's late ‘60s studio albums, and much more.  Transmissions is part of the Talkhouse Podcast network, check out Talkhouse for more great reading and listening. Next week on Transmissions? 20-year-old Navajo singer/songwriter Hataałii joins us to discuss his label debut and what music has meant to him growing up. Until then, this Transmission is concluded.  For heads, by heads. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support via our Patreon page

Occasionally, JF and Phil do a song swap. Each host chooses a song he loves and shares it with the other, and then they record an episode on it. This time, JF chose to discuss "Jesus, Etc." from Wilco's 2001 album, Yankee Hotel Foxtrot, and Phil picked Judee Sill's ethereal "The Kiss," from Heart Food (1973). It was in the zone of Time, in all its strangeness, that the two songs began to resonate with one another. Sill's song is a fated grasping at the eternal that is present even when it eludes us, and "Jesus, Etc." is a leap across time that captures, in jagged shards and signal bursts, the events of the day on which Wilco's album was scheduled to drop: September 11, 2001. Support us on Patreon (https://www.patreon.com/weirdstudies) and gain access to Phil's podcast on Wagner's Ring Cycle. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Download Pierre-Yves Martel's new album, Mer Bleue (https://pierre-yvesmartel.bandcamp.com/album/mer-bleue). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Judee Sill, [“The Kiss”](https://www.youtube.com/watch?v=0feFedDWiQ&abchannel=donmussell12) James Elkins, Pictures and Tears (https://bookshop.org/a/18799/9780415970532) Brian Wilson and the Beach Boys, “Surf's Up” (https://www.youtube.com/watch?v=rur92ArNZKg&ab_channel=TheBeachBoys-Topic) Weird Studies, Episode 148 on “Twin Peaks” (https://www.weirdstudies.com/148) Wilco, “Jesus Etc.” (https://www.youtube.com/watch?v=efq95Pfqt5U&ab_channel=DaltonRay) Jeff Buckley (https://en.wikipedia.org/wiki/Jeff_Buckley), singer-songwriter William Gibson, Forward to Dhalgren (https://bookshop.org/a/18799/9780375706684) L. E. J. Brouwer, Concept of “two-ity” (https://en.wikipedia.org/wiki/Intuitionism) Dogen, Genjokoan (https://bookshop.org/a/18799/9780992112912) David Bowie, “Heroes” (https://www.youtube.com/watch?v=lXgkuM2NhYI) Philip K. Dick, Valis (https://bookshop.org/a/18799/9780547572413) Weird Studies, Episode 147 “You Must Change Your Life” (https://www.weirdstudies.com/147) Theodore Adorno, Aesthetic Theory (https://bookshop.org/a/18799/9780816618002) James Longley, Iraq in Fragments (https://www.imdb.com/title/tt0492466/) Sam Jones, I am Trying to Break your Heart (https://www.imdb.com/title/tt0327920/) Number Stations (https://en.wikipedia.org/wiki/Numbers_station)

Hace algunas semanas, tuvo lugar el Festival de cómic europeo de Úbeda y por allí tuvimos delegación tortera. Aprovechando la coyuntura hablamos de este y de otros muchos salones y eventos de cómic: Nuestras primeras veces, las diferencias entre unos y otros, lo mejor y lo peor. Pero quietos, que esto es uno de nuestros popurrís, así que no nos escaparemos sin recomendar un puñado de tebeos en el segundo bloque. Sabed, oh-yentes, que entre los años del hundimiento de Atlantis y sus brillantes ciudades, tragadas por los océanos, y los años del nacimiento de los hijos de Aryas, hubo una edad no soñada donde podía escucharse el podcast 294 de ELHDT. Selección musical: 🎶 There's a Rugged Road, 🎶 Crayon Angels, 🎶 Jesus Was a Cross Maker, de Judee Sill

Judee Sill atracaba gasolineras antes de cumplir los 20. A esa edad ya iba por su segundo marido y había estado en prisión. Tras unos años al límite la joven compositora se centró en la música y editó dos discos de folk delicado, complejo y hermoso que pasaron sin pena ni gloria muchas veces boicoteados por su propia autora. Tras una bronca con el dueño de su sello, Sill se alejó de la música y murió en el olvido. Hoy en día la figura de Judee Sill está siendo reclamada por diferentes artistas de renombre y su historia recuperada a través de un documental estadounidense y un cómic español. Para recuperar su música y reconstruir su vida hemos invitado al Sofá Sonoro a los autores de 'Éxtasis y redención' (Ed Norma) el guionista Juan Díaz Canales (Premio Nacional de Cómic) y al ilustrador Jesús Alonso Iglesias. 

Esta semana, en Islas de Robinson, caemos una vez más en los 70. Clásicos y melodías de varios tonos y colores. Suenan: COLIN BLUNSTONE - "EXCLUSIVELY FOR ME" ("ENNISMORE", 1972) / HONEYBUS - "BE THOU BY MY SIDE" ("RECITAL", 1973) / CLIFFORD T. WARD - "HOME THOUGHTS FROM ABROAD" ("HOME THOUGHTS", 1973) / SHAUN HARRIS - "I'LL CRY OUT" ("SHAUN HARRIS", 1973) / MIKE D'ABO - "RACHEL'S PLACE ("DOWN AT RACHEL'S PLACE", 1972) / HARRY NILSSON - "TURN ON YOUR RADIO" ("SON OF SCHMILSSON", 1972) / PAMELA POLLAND - "PLEASE MR.DJ" ("PAMELA POLLAND", 1972) / JUDEE SILL - "THE PEARL" ("HEART FOOD", 1973) / MARIA MULDAUR - "MAD MAD ME" ("MARIA MULDAUR", 1973) / JOHN LENNON - "OUT THE BLUE" ("MIND GAMES", 1973) / ELECTRIC LIGHT ORCHESTRA - "BLUEBIRD IS DEAD" ("ON THE THIRD DAY", 1973) / STEALERS WHEEL - "WALTZ (YOU KNOW IT MAKES SENSE)" ("FERGUSLIE PARK", 1973) / THE KINKS - "SITTING IN MY HOTEL" ("EVERYBODY'S IN SHOWBIZ", 1972) / T.REX - "ELECTRIC SLIM AND THE FACTORY HEN" ("TANX", 1973) / DAVID BOWIE - "THE PRETTIEST STAR" ("ALADDIN SANE", 1973) / Escuchar audio

The New York Times' Overlooked series was introduced on March 8, 2018 for International Women's Day, when they published fifteen obituaries of "overlooked" women, and has since become a hugely successful bi-weekly feature in the paper. As part Relevant Tones: Live, Access Contemporary Music has commissioned five composers to write musical portraits of the lives in the series, including surrealist painter and mystic Remedios Varo, singer-songwriter Judee Sill, journalist, teacher and political activist Jovita Idár, food inventor and war heroine Maria Orosa and the first African-American registered nurse in the United States, Mary Eliza Mahoney. Each new string quartet was performed live by The Overlook, and host Seth Boustead talked with special guests Amy Padnani, creator of the Overlooked series, filmmaker Vanessa Gould and obituary writer Jacques Kelley in between each performance. Live from Symphony Space in Manhattan.

Episode 27 of Campfire Songs with special guest Michael Hall, lead vocalist and guitarist of the Wild Seeds, a member of The Setters, as well as a long solo career.  Featuring  songs by The Wild Seeds,  and along, The Holy Modal Rounders, Judee Sill, Bottlecap Mountain, Chicano Batman, Karen Dalton, Tee Vee Repairman, and Michael Hall.

In this free episode, we are joined by friend of the pod and indie pop superstar Alaina Moore of Tennis.  We talk about their new record, their upcoming tour, and whether or not we can consider them twee adjacent.  And we discuss our shared love for a lost icon, American Singer Songwriter - Judee Sill.

June McDoom - "On My Way" from the 2022 June McDoom EP on Temporary Residence Ltd. Singer/songwriter June McDoom taps into her family history for her music: her parents relocated from Jamaica to New York City in the 1970s. As an adult, she began listening to folk artists from that era, like Joan Baez and Judee Sill, vintage soul from The Delfonics and The Supremes, and reggae artists her family listened to, like Alton Ellis and Phyllis Dillo. On her self-titled debut EP, she infuses these influences through a mix of analog and digital recording techniques.  “‘On My Way' is about making my way through life while sharing it with another person," she told Beats Per Minute. "About how grounding and scary it can be to share a life with someone, while both working to fulfill life's passions and dreams. Living in NYC always feels like a journey just getting from one place to another and life can feel just the same.” "I recorded several versions of this song, with earlier versions at a slower tempo. Then one day I had an idea to try recording it one more time from scratch a little faster, after continually feeling like it needed something more/dragged a bit and it ended up fitting a lot better so we followed through with that final arrangement. With the tempo change of the final version, I wanted to also texturally mirror the message of traveling and working towards a destination with low and high moments." Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

DJ St. Paul neemt de muzikale week door met liedjes van o.a. Weyes Blood, Prince & Nagasaki Swim. Deze keer in de albumrubriek een uitgebreid gesprek met Niek Nellen van Afterpartees over Cross van Justice. Benieuwd naar de tracklist en de shownotes? Check ze via: tivolivredenburg.nl/studio/podcast/st-pauls-boutique/

Chris Thile was born to play music! He began playing the mandolin at 5 years old and by 8 was in the popular bluegrass band, Nickel Creek. He went on to start the band Punch Brothers and to take the reins of Prairie Home Companion and reinvent it as his own ‘Live from Here with Chris Thile'. The conversation dives into what it was like growing up in church, making room for healthy debates, and the life-changing experience of having Alison Krauss as your producer. This episode is a wild card when it comes to music, as Chris suggests that he and Norah not only dig into his catalog, but also play some killer songs by Radiohead and Judee Sill. Recorded on 10/26/2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

For our last episode of Find Your Film, we review the Netflix feature Slumberland (37:00), the IFC Films release Bad Axe (24:52),  The Last Manhunt (47:33), Smile (16:30), All Quiet on the Western Front, and Lost Angel: The Genius of Judee Sill (52:12).Bruce Purkey also reviewed Netflix's The Wonder (10:04) Manchester by the Sea (62:17).Thank you so much for your two plus years of listenership!Follow Greg Srisavasdi, Eric Holmes, and Bruce Purkey as they move their FYF stylings to the CinemAddicts podcast:1. Buzzsprout: https://cinemaddicts.buzzsprout.com2. Spotify: http://bit.ly/3hPt5js3. 3. Apple Podcasts: http://bit.ly/3EEOlkIJoin our CinemAddicts Facebook Group for daily movie recommendations and chatter: https://www.facebook.com/groups/cinemaddictspodcast/Support the show

Sam and Jason are deep in the record crates this week, with an episode focused on cult music icons, including the Judee Sill, Emitt Rhodes, sunshine popper Curt Boettcher, garage rockers from Mars ? & the Mysterians, and Stephen Kalinich—plus appearances by a few mega-stars including Meat Loaf and Dennis Wilson of The Beach Boys. Along the way, explorations of bank robbery, anti-ASMR train noises, and a little bit about the mythical Taco Bell Big Beefer. Too many clicks for one heart to be clicking: it's Click Vortex episode 18: No Meat, All Loaf on WASTOIDS. Do you have a Taco Bell menu item you want to yell about? A pop music lost classic you think WASTOIDS should be discussing? Anything else on your mind? Call us at 1-877-WASTOIDS and leave a message. About Click Vortex: The world wide web, like the universe itself, is constantly expanding. With each episode of Click Vortex, Sam Means (The Format) and Jason Woodbury (Aquarium Drunkard) bring you a biweekly survey of their online adventures.

Eric Holmes interviews The Elephant 6 Recording Co. producer Rob Hatch-Miller and Lost Angel: The Genius of Judee Sill filmakers Andy Brown and Brian Lindstrom.Go to The Elephant 6 Recording Co.'s official website: https://www.elephant6movie.com/For more info on Lost Angel: The Genius of Judee Sill, go the film's Instagram: https://www.instagram.com/judeesilldoc/Timecodes: (0:00) - Intro(5:56) - The Elephant 6 Recording Co. interview with Rob Hatch-Miller(20:12) - Lost Angel: The Genius of Judee Sill interview with filmmakers Andy Brown and Brian Lindstrom(35:20) - Bruce reviews Smile, the horror thriller which was just released on Pramount Plus(45:23) - Bruce reviews the Netflix feature All Quiet on the Western FrontSubscribe to our Deepest Dream YouTube Channel for more movie reviews and interviews: https://www.youtube.com/c/DeepestDreamDotComShirts, hoodies, drinking glass, stickers and more FYF merch is up on findyourfilmpodcast.com!Email:Greg Srisavasdi: editor@deepestdream.comEric Holmes: hamslime@gmail.comBruce Purkey: brucepurkey@gmail.comJoin our CinemAddicts Facebook Group, where we give Blu-rays and DVDs out weekly to our members!Find Your Film is on Facebook, Twitter, and Instagram!Support the show

A new documentary is bringing a lost yet influential music star back into the spotlight. In the early 1970s singer-songwriter Judee Sill overcame drug addiction, time in prison, and the absence of her family, to become a pop recording artist. Signed to David Geffen's influential record label, Sill was all set for stardom but it never fully arrived. Though her music was loved by a large core of fans and especially by fellow musicians, she never found chart success and fell into obscurity before dying tragically young in 1979. Documentarians Andy Brown and Brian Lindstrom found Judee's music and have spent the past decade working on bringing her legend back to life. They've done that with the new brilliant documentary Lost Angel: The Genius of Judee Sill. Brian and Andy spoke with Wake Up Tri-Counties about the documentary on Tuesday morning.

Premiering at DOC NYC, LOST ANGEL: THE GENIUS OF JUDEE SILL explores the ethos of Judee Sill, a one-of-a-kind singer-songwriter from 1970s LA. Directed by Andy Brown and Brian Lindstrom, LOST ANGEL explores the traumas that shaped her adolescence, the amazing success that she achieved and her tragic death. In this 1on1, we speak to Brown and Lindstrom about Judee's legacy, sacred sexuality, what makes her a 'lost angel'.

FIRST: Due to technical difficulties, Greg's microphone sounds like a ham radio. SECOND: The world's worst coffee reviewer brags about owning a suede painting. Chris tries to re-calibrate his targeted ads. ALSO: Frightening old coffee commercials, Bono's offshore accounts, and Boomers exaggerating how much adversity they've overcome. PLUS: Song of the week by Judee Sill!!!!Judee Sill - "The Kiss": https://www.youtube.com/watch?v=UdnQkQYT63E

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

We're talking about Nirvana's MTV Unplugged In New York song by song. Our guest for Come As You Are, the 2nd song of the show, was born the same year Nirvana Unplugged was performed. Guitarist, composer and multi-instrumentalist Louis Cohen joins Jason to discuss his connection to Nirvana, musical plagarism, 90s guitar sounds and fashion, Judee Sill, and a lot more.  Subscribe, rate and review wherever you listen to podcasts. Email: beforethestreampodcast@gmail.com Twitter: beforethestream Instagram: beforethestream

In this episode, Alex visits Brooklyn Lutherie, the only woman-owned and operated guitar shop in New York City. While there to pick up his double SG, he chats with Mamie Minch, the shop's co-founder, about the repair on his guitar and learns something new about it in the process. Alex, Mamie, and co-founder Chloe Swantner discuss what it was like to start a guitar repair business in what has traditionally been a very male-dominated field, and how Brooklyn Lutherie is changing the ratio. Mamie and Alex also discuss her musical career and her influences, which include two relatively unknown but fascinating female musicians, Connie Converse and Judee Sill. You'll also hear a bit of Mamie's music.Mamie Minch is a longtime staple of New York City's blues scene. She began playing guitar as a teenager in her bedroom listening to reissues of class country blues on repeat. She would try her hand at picking out the songs of legends like Mississippi John Hurt, Lightnin' Hopkins, Memphis Minnie and Bessie Smith. She loved the steady thumb and percussive right hand of these blues players, but she also devoured lots of different styles of music, from soul to psychobilly and old time to punk rock.When she's not making music, Mamie spends her days as a guitar repair luthier at Brooklyn Lutherie, the shop she and her business partner, Chloe Swantner, opened in 2014. It remains one of the few women-owned and -operated shops around. She also teaches, writes articles about luthiery and guitar playing for She Shreds and Acoustic Guitar magazines, and runs the annual Ukulele Building Camp for Girls in Brooklyn, NY.Moods & Modes is presented by Osiris Media. Hosted and Produced by Alex Skolnick. Osiris Production by Kirsten Cluthe and Matt Dwyer. Editing and mixing by Matt Dwyer. Music by Alex Skolnick. Artwork by Mark Dowd. If you like what you hear, please subscribe, rate, and review! Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

As leader of The Hold Steady and a solo artist, Craig Finn specializes in unlikely redemption stories. His latest is called A Legacy of Rentals. Like his best work, it traces the lines of down and out characters, imbuing them with humanity and inner drama. Finn is one of the most empathetic indie rock writers out there, and to that end, he's also launched a new podcast called That's How I Remember It, dedicated to exploring the connection between memory and creativity with guests like Fred Armisen, Patterson Hood of Drive-By Truckers, and Brian Koppelman of Billions. On his week's episode of Transmissions, Finn joins host Jason P. Woodbury to discuss memory, Judee Sill, his mood in New York during the "rock is back" era, and much more.  If you want to support Transmissions, check out Aquarium Drunkard's Patreon page. We're a part of the Talkhouse Podcast Network.

Staci speaks with June Millington, a founding member and the lead guitarist of the first all-female rock band, Fanny. Fanny was formed in 1969 and they paved the way for higher-profile bands like The Runaways in the 1970s, and The Go-Go's in the 1980s. June talks about some of her struggles breaking into the so-called “boy's club” of rock, and the brand-new documentary film, Fanny: The Right to Rock, as well her memoir, Land of a Thousand Bridges: Island Girl in a Rock & Roll World, plus a lot more. Lastly, Staci reads from the new, #1 bestselling Rock & Roll Nightmares: True Stories book, recalling a forgotten female voice of the '70s soft-rock era, Judee Sill.

Dimitri and Khalid answer questions from the Grotto of Truth Discord on: the legacy of Something Awful, the susness of Woodstock, the collapse of consensus reality, the strange and tragic career of Judee Sill, and Otto Skorzeny training the Green Berets. For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad.

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