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2 episodes with Julie Driscoll
6 episodes with Julie Driscoll
3 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
12 episodes with Julie Driscoll
5 episodes with Julie Driscoll
3 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
2 episodes with Julie Driscoll
Brian Auger honestly states in this podcast, “Being a professional musician and making a living at it wasn't planned, it just happened.” British Keyboard artist Brian Auger has played with the best of the best - Jimi Hendrix, Jimmy Page, Sonny Boy Williamson, Rod Stewart, Eric Burdon, John McLaughlin , Eric Clapton, Steve Winwood, Spencer Davis just to name a few. His groups were The Trinity with Julie Driscoll and the Oblivion Express as well as playing in many sessions with major artists. In this insightful podcast Brian takes us from being bombed by Hitler's troops as a young boy in the streets of London to his becoming a world class musician specializing in the Hammond B3 organ. Brian sums up his approach to playing music with the following quote: “I'm never dissatisfied with the reaction to albums because there are certain albums that I made in the ‘70s and the ‘60s that sold poor and people want them. It seems to pick up different generations as it goes along. I don't worry about that. I just worry that the tracks that we would put, have a meaning to them, they mean something to me. Each album is like a page in my musical diary: Where I am musically at that time. I am not looking to write something for any kind of need in the marketplace or anything like that. I am just trying to make the best music that I can make and put it out there.”
One of the best pairings in rock occurred when vocalist Julie Driscoll collaborated with keyboardist Brian Auger and created a unique sound that blended rock, jazz and soul. They stood out musically from other acts of the psychedelic era. These are select tracks from this union.Please help in the relief effort to help the people of Los Angeles who have been affected by those horrific fires. Please consider making a donation to The Red Cross to find shelter, clean drinking water and other necessities that are desperately needed. got to http://www.redcross.org to make a donation.Donate Now - Online Donations | American Red CrossMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Also:Kathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at my Venmo account@jessie-DelgadoII
This week's show, after a 1973 New York Dolls dollop: brand new Miki Berenyi Trio, Jesse Welles, Kim Deal, Drop Nineteens, John Davis, The Moles, and Modern Shakes, plus Glide, Prince Buster, Julie Driscoll, Brian Auger & The Trinity, Porter Wagoner, P...
Fruitful Radio Show with Nick Carling ... This show has new music from Soyuz, Asha Puthli & Sven Wunder, Yumia Enya & Inokasira Rangers, Psychemagik, The Perpetual Singers, Pete Blaker, Mousse T, Robot 84, Mister Mushi & Jack J. Plus some well seasoned gems from Boz Scaggs, Gong, Johnnie Taylor, Captain Beefheart, Julie Driscoll & Brian Auger, Richie Havens, Donald Fagen, Jackson 5 and more! Thanks for listening. Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
En esta entrega hemos escuchado a Neil Young; Astral Bazaar; Sonar; Recuerdo a Peter Sinfield; Rosemary and The F# Crazies; Loma; Julie Driscoll, Brian Auger and Trinity. Leer Más La Ruleta Rusa. Entrega 48.2024. at La Ruleta Rusa Radio Rock.
After many years of invisibility, Peter Perrett of the Only Ones is out, about and on tour again and talks to us here about the first gigs he ever saw and played, which involves … … what time he goes to bed. … “he writes better lyrics than Elvis Costello and is prettier than Billy Idol”: why Nick Kent's review was an insult. … seeing the Small Faces in 1966, the Floyd with Syd at Middle Earth, Dylan at the Isle of Wight, Fairport Convention, Geno Washington, Lou Reed in 1972 (“a hero”), Sex Pistols in 1975. … the Ally Pally Love-In in 1967 with Pink Floyd, the Animals, Julie Driscoll and Arthur Brown (“doing Alice Cooper five years before Alice Cooper”). … supporting Global Village Trucking Company at the Marquee in 1975 with Glenn Tilbrook and Jools Holland. … memories of Vivienne Westwood, the Bromley Contingent and leopardskin vinyl trousers. … the first gig he ever played, doing the Velvet Underground's What Goes On with a four-string guitar at a college dance. … the tangled tale of Another Girl Another Planet. … “I never thought I'd retire at 28 and come back as a septuagenarian'. … the role reversal of being produced by your own son. … and how the Snow Station Vadsø festival in Norway – with Peter Buck, Lenny Kaye, Fritz Catlin and Mark Bedford – gave him the courage to go back on tour. Peter Perrett tour dates here:https://www.ticketmaster.co.uk/peter-perrett-tickets/artist/5238432 Order his new album The Cleansing here:https://www.amazon.co.uk/Cleansing-Peter-Perrett/dp/B0DB8VMBDLFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
After many years of invisibility, Peter Perrett of the Only Ones is out, about and on tour again and talks to us here about the first gigs he ever saw and played, which involves … … what time he goes to bed. … “he writes better lyrics than Elvis Costello and is prettier than Billy Idol”: why Nick Kent's review was an insult. … seeing the Small Faces in 1966, the Floyd with Syd at Middle Earth, Dylan at the Isle of Wight, Fairport Convention, Geno Washington, Lou Reed in 1972 (“a hero”), Sex Pistols in 1975. … the Ally Pally Love-In in 1967 with Pink Floyd, the Animals, Julie Driscoll and Arthur Brown (“doing Alice Cooper five years before Alice Cooper”). … supporting Global Village Trucking Company at the Marquee in 1975 with Glenn Tilbrook and Jools Holland. … memories of Vivienne Westwood, the Bromley Contingent and leopardskin vinyl trousers. … the first gig he ever played, doing the Velvet Underground's What Goes On with a four-string guitar at a college dance. … the tangled tale of Another Girl Another Planet. … “I never thought I'd retire at 28 and come back as a septuagenarian'. … the role reversal of being produced by your own son. … and how the Snow Station Vadsø festival in Norway – with Peter Buck, Lenny Kaye, Fritz Catlin and Mark Bedford – gave him the courage to go back on tour. Peter Perrett tour dates here:https://www.ticketmaster.co.uk/peter-perrett-tickets/artist/5238432 Order his new album The Cleansing here:https://www.amazon.co.uk/Cleansing-Peter-Perrett/dp/B0DB8VMBDLFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
After many years of invisibility, Peter Perrett of the Only Ones is out, about and on tour again and talks to us here about the first gigs he ever saw and played, which involves … … what time he goes to bed. … “he writes better lyrics than Elvis Costello and is prettier than Billy Idol”: why Nick Kent's review was an insult. … seeing the Small Faces in 1966, the Floyd with Syd at Middle Earth, Dylan at the Isle of Wight, Fairport Convention, Geno Washington, Lou Reed in 1972 (“a hero”), Sex Pistols in 1975. … the Ally Pally Love-In in 1967 with Pink Floyd, the Animals, Julie Driscoll and Arthur Brown (“doing Alice Cooper five years before Alice Cooper”). … supporting Global Village Trucking Company at the Marquee in 1975 with Glenn Tilbrook and Jools Holland. … memories of Vivienne Westwood, the Bromley Contingent and leopardskin vinyl trousers. … the first gig he ever played, doing the Velvet Underground's What Goes On with a four-string guitar at a college dance. … the tangled tale of Another Girl Another Planet. … “I never thought I'd retire at 28 and come back as a septuagenarian'. … the role reversal of being produced by your own son. … and how the Snow Station Vadsø festival in Norway – with Peter Buck, Lenny Kaye, Fritz Catlin and Mark Bedford – gave him the courage to go back on tour. Peter Perrett tour dates here:https://www.ticketmaster.co.uk/peter-perrett-tickets/artist/5238432 Order his new album The Cleansing here:https://www.amazon.co.uk/Cleansing-Peter-Perrett/dp/B0DB8VMBDLFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In onda Gigi Longo. Musiche: The B52's,Jorge Ben,Julie Driscoll, Brian Auger & The Trinity,Letta Mbulu, Rita Monico, Galliano, Material, Sault, Serge Gainsbourg,Rotary Connection, The Surf Champlers, Arthur Russell.
DIGGIN' ..with Si Cheeba First Broadcast : Friday 2nd August 2024 SHIP FULL OF BOMBS RADIO 01) Intro 02) Whispering Weeds- YOSHIO IKEDA 03) Bridge Into The New Age - AZR LAWRENCE 04) Una Notte a Conegliano - BUNN DEBRETT QUINTET 05) My Soul - CHRIS BANGS 06) Gods Of The Yoruba (3) - THE MODERN BEAT COMBO 07) All Blues - BRIAN AUGER, JULIE DRISCOLL & THE TRINITY 08) Guinne Drop - JOE TATTON TRIO 09) I Love My Baby - UNITED FUTURE ORGANISATION 10) Loud Minority - UNITED FUTURE ORGANISATION 11) I'll Bet You'd Thought I'd Never Find You - UFO with JON HENDRICKS 12) West Memphis - PARLOR GREENS 13) Lost Temple - COSMOS GIANTS 14) Jazz Cazz - DAN THE DRUM & RONNIE TURNER Feat. EMMA NOBLE 15) The Chelsea Memorandum - LALO SCHIFRIN 16) Alfomega - CAETONO VELOSO 17) Amor - SECOS E MOLHADOS 18) Upa Neguinho (Super Neg Mix) - UNITED FUTURE ORGANISATION 19) United Future Airlines - UNITED FUTURE ORGANISATION 20) Flying Saucer - UFO Feat. DEE DEE BRIDGEWATER 21) El Barrio Strut - THE BEAT BROKER 22) One Step Beyond - CHEEBA'S LATIN BROS 23) Good Lovin' - LUCHITO & NESTOR 24) Good Lovin' - THE GILBERTO SEXTET 25) You Better Watch It Now - THE NEW SWING SEXTET 26) My Victrola - JOEY PASTRANA 27) Johnny On The Warpath - JOHNNY RIVERA & THE TEQUILA BRASS 28) Outro *******************
Abrimos episodio semanal de La Ruleta Rusa con lo nuevo de los suizos Monkey3, Welcome To The Machine, de este 2024. The Dear Hunter son una interesante banda de progresivo pero con un sonido bastante inclasificable, complejo e interesante a la vez. Les hemos escuchado en uno de sus últimos trabajos Antimai, de 2022. Escuchamos también a los británicos Starsailor, en su estupendo segundo de estudio, Silence Is Easy, de 2004. Nuestra primera bocanada de rock clásico se la dimos a Tom Waits y su debut de 1973, Closing Time. Descubriremos juntos a este trío de jóvenes sicilianos que se hacen llamar The Whistling Heads, escuchando Shut Me Up, de este 2024. Potencia, calidad y calidez de la mano de Stone Temple Pilots, de vuelta a LRR esta vez con su recopilatorio, Thank You, de 2003. Y cerraremos con nuestra segunda mirada al rock clásico, de la mano de la gran Julie Driscoll y su estupendo debut en 1971, el álbum titulado 1969.
Abrimos episodio semanal de La Ruleta Rusa con lo nuevo de los suizos Monkey3, Welcome To The Machine, de este 2024. The Dear Hunter son una interesante banda de progresivo pero con un sonido bastante inclasificable, complejo e interesante a la vez. Les hemos escuchado en uno de sus últimos trabajos Antimai, de 2022. Escuchamos también a los británicos Starsailor, en su estupendo segundo de estudio, Silence Is Easy, de 2004. Nuestra primera bocanada de rock clásico se la dimos a Tom Waits y su debut de 1973, Closing Time. Descubriremos juntos a este trío de jóvenes sicilianos que se hacen llamar The Whistling Heads, escuchando Shut Me Up, de este 2024. Potencia, calidad y calidez de la mano de Stone Temple Pilots, de vuelta a LRR esta vez con su recopilatorio, Thank You, de 2003. Y cerraremos con nuestra segunda mirada al rock clásico, de la mano de la gran Julie Driscoll y su estupendo debut en 1971, el álbum titulado 1969.
This brilliant Brian Auger joins Gary and Guy this week for another must listen episode of Rockonteurs.Brian is a total gent and was there from the earliest days of Rock and Roll as the go to organ and piano guy.He formed The Steampacket with Long John Baldry, Julie Driscoll, and Rod Stewart in 1965. His influence is felt far and wide in the business and artists like Elton John and Jools Holland cite Brian as a massive influence.He's funny, charming, and hugely entertaining and his music is well worth a listen. Instagram: @rockonteurs @guyprattofficial @garyjkemp @brianaugerb3 @gimmesugarproductionsYouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by Ben Jones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.
This brilliant Brian Auger joins Gary and Guy this week for another must listen episode of Rockonteurs.Brian is a total gent and was there from the earliest days of Rock and Roll as the go to organ and piano guy.He formed The Steampacket with Long John Baldry, Julie Driscoll, and Rod Stewart in 1965. His influence is felt far and wide in the business and artists like Elton John and Jools Holland cite Brian as a massive influence.He's funny, charming, and hugely entertaining and his music is well worth a listen. Instagram: @rockonteurs @guyprattofficial @garyjkemp @brianaugerb3 @gimmesugarproductionsYouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by Ben Jones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.
"Long may you run. Long may you run.Although these changes have comeWith your chrome heart shining in the sunLong may you run.Maybe The Beach Boys have got you nowWith those waves singing "Caroline No"Rollin' down that empty ocean roadGettin' to the surf on time, Long may you run"Lets'keep running together, starting withthis week's Red Eye Edition of Whole 'Nuther Thing beginning at Midnight. Joining us are Laura Nyro, Savoy Brown, XTC, Talking Heads, Porcupine Tree, Traffic, Van Morrison, Eagles, Bruce Hornsby, Michael Murphy, Bob Dylan, The Rolling Stones, Pat Metheny w Lyle Mays, Ben E. King, Patti Smith, Brian Auger w Julie Driscoll, The Doors, Band, Grateful Dead, Flying Burrito Brothers, Steely Dan, Supertramp and Neil Young...
durée : 00:59:33 - Trouver la flamme ! - par : Nathalie Piolé - ❤️
"You know that old trees just grow stronger,And old rivers grow wilder every day.Old people just grow lonesomeWaiting for someone to say, "Hello in there, hello."Please say Hello and join me on this week's Red Eye Edition of Whole 'Nuther Thing". Joining us are Father John Misty, Laurence Juber, Nick Drake, Laura Nyro, Boz Scaggs, Dusty Springfield, Kenny Rankin, Dave Mason, Rickie Lee Jones, Bob Dylan, Glen Campbell, The Decemberists, Beatles, America, Johnny Rivers, Kenny Loggins, The Cars, Youngbloods, Grateful Dead, Al Kooper w Michael Bloomfield, Linda Ronstadt, Ten YearsAfter, Brian Auger & Julie Driscoll, Dion and John Prine...
You can trust Lucy Clayton to take you to some dark places each Halloween but this year, we bring you the ultimate guide to Goth. Author Cathi Unsworth has written the definitive history of Goth and joins us to talk music, eyeliner and icons of this spookiest of genres. Links Follow @dressfancypodcast on Instagram Follow @mslucyclayton on Instagram Leave us a review Cathi Unsowrth Season of the Witch: The Book of Goth – Cathi's book Season of the Witch - song by Julie Driscoll
1. Mink de Ville 2. Fruit Bats 3. The Stranglers 4. Kate Bush 5. B C Camplight 6. Julie Driscoll, Brian Auger & The Trinity 7. Orville Peck 8. Marlon Williams 9. Al Park 10. Don McGlashan 11. Spoon 12. Ēurythmics 13. Primal Scream 14. Harold Melvin And The Blue Notes 15. Nick Lowe 16. The Dresden Dolls
Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether) from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut. Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time. The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m
"One is the loneliest number that you'll ever doTwo can be as bad as oneIt's the loneliest number since the number oneNo is the saddest experience you'll ever knowYes, it's the saddest experience you'll ever know'Cause one is the loneliest number that you'll ever doOne is the loneliest number, whoa-oh, worse than two"Let's make each others 1 a 2 simply join me at Midnight for the Red Eye Edition of Whole 'Nuther Thing.Joining us are T Bone Burnett, The Shadows of Knight, Savoy Brown, Aretha Franklin, Little River Band, Miles Davis, The Doors, Robin Thicke, Jackson Browne, Johnny Rivers, AlKooper with Stephen Stills, Rhinoceros, John Mellencamp, Brian Auger w Julie Driscoll, Rolling Stones, Bill Withers, Moody Blues, Glen Campbell, Mitch Ryder & The Detroit Wheels, Grass Roots, Synicate Of Sound, Love and Three Dog Night.
Music & Memories (June 68) music from Elvis Presley, Rolling Stones, Julie Driscoll & The Brian Auger Trinity, Donovan, Tremeloes, Herman's Hermits, Dionne Warwick, Donovan, Love Affair, The Association, Scott Walker, Gary Puckett and more..........
1 JK Group - Rising Part 1 (La Sape Records) Multi-dimensional future-jazz outfit JK Group return on La Sape Records. Led by award-winning saxophonist,Joshua Kelly (30/70 collective, PBS Young Elder of Jazz 2019), the band returns to the label with a follow up EP to the mind-bending 2021 release, 'What's Real?'2 David Versace - Summer Party (Okra La Sape Records) Brisbane-based multi-instrumentalist David Versace shares the his much anticipated debut LP 'Okra', his first solo album for La Sape Records. Wandering effortlessly between jazz, samba, ambient and the odd dance-floor heater, 'Okra' follows 3 years of consistent releases and is his most elegant an articulated work yet.3 Doug Wamble - Homesick (Blues in the Present Tense Halyconic Records) This is Wamble's first album since 2015's The Traveler: Live in New York City, co-produced with veteran guitarist Charlie Drayton and a musical cast of longtime associates: bassist Eric Revis, drummer Jeff "Tain" Watts, and saxophonist Prometheus Jenkins (aka Branford Marsalis). 4 Kay Young - Feel Like Makin Love (Bluenote Re:imagined) Blue Note Re:imagined returns with a new 16-track compilation featuring fresh takes on music from the illustrious Blue Note vaults recorded by a heavyweight line-up of the UK jazz, soul and R&B scene's most hotly-tipped rising stars. 5 Ron Carter - Receipt Please (Finding the Right Notes IN& OUT) In October 2022, PBS aired a two hour documentary on jazz legend Ron Carter. Six years in the making, Finding the Right Notes was produced and directed by the renowned producer/director Peter Schnall, a seven-time Emmy Award and Peabody Award winner. Schnall reveals poignant and joyful details of the jazz maestro's life, from his early days as a cello student in high school through his years in the Miles Davis Quintet of the ‘60's and into his vital solo career that continues to this day.6 Ubunye - Ubunye (Ubunye 33 Jazz) Ubunye is a vibrant seven-piece Afro-jazz band (which can expand to a 10 piece with horns) - it is a band like no other. Featuring three powerful vocalists from South Africa's Kwa Zulu Natal region combined with a dynamic rhythm section from Leeds, UK Ubunye's music is a unique blend of contemporary jazz, Afro-pop and traditional ‘Isigqui' Zulu music.7 Nicholas Payton - Feed The Fire (The Couch Sessions SMOKE) Visionary Multi-instrumentalist and Composer Nicholas Payton Provides a Vital Dose of Musical Therapy on The Couch Sessions Available Now on Smoke Sessions Records, the Trio Album Features the Dream Rhythm Section of Buster Williams and Lenny White, as Well as the Compositions and Sampled Voices of Masters Like Herbie Hancock, Wayne Shorter, Keith Jarrett and Geri Allen8 Tim Fitzgerald - Cariba (Full House CELLAR MUSIC GROUP) Chicago-based guitarist Tim Fitzgerald and his septet Full House have released their eponymous debut album.Out now via Cellar Music Group, Full House is an assemblage of Chicago's finest straight-ahead players who transform a thoughtfully-curated selection from Wes Montgomery's varied songbook.9 Theon Cross - Epistrophy (Bluenote Re:imagined) London tuba player and Sons of Kemet member Theon Cross with a version of the Thelonious Monk/Kenny Clarke composition Epistrophy10 Michael Wollny - Erlkonig (Ghosts ACT) On "Ghosts" pianist and composer Michael Wollny, together with bassist Tim Lefebvre and drummer Eric Schaefer, explores the ghosts that inhabit songs from jazz, classical and pop music. The musical spectrum of the album, which is influenced by the "Hauntology" movement as well as Northern and Southern Gothic, ranges from Franz Schubert's "Erlkönig" to jazz standards by George Gershwin or Duke Ellington and pop songs by Nick Cave or Timber Timbre. 11 Brian Auger, Julie Driscoll & The Trinity - Red Beans and Rice (Far Horizons !K7)Next week on CPG: Boogaloo sax from Canada, Lauren Henderson channels betrayal + fabulous guitar jazz from NYC. Hit subscribe right now & immerse next week.
Welcome to the latest Courtney Pine Global Podcast Bitesize Edition! A coffee break's worth of cool jazzy vibes to wet your appetite for the full show. Commercial free, and hand-picked by Courtney for a vibrant, and soulful listen! This week: fabulous beats from Brisbane, wild experimentation from a PBS Young Elder of Jazz + a big friend of CPG bringin home the beans and rice! Please let all your jazz friends know that they can listen for free on Apple podcasts, Google Podcasts, Amazon Music and always at jazz-pod.comVisit our archive here Join the CPG community by following us on Facebook & Instagram Ask us ANYTHING(!) about jazz over on Twitter Watch our FAB & FUN artist features over on Tiktok1 David Versace - Saguaro (Okra La Sape Records) Brisbane-based multi-instrumentalist David Versace shares the his much anticipated debut LP 'Okra', his first solo album for La Sape Records. Wandering effortlessly between jazz, samba, ambient and the odd dance-floor heater, 'Okra' follows 3 years of consistent releases and is his most elegant an articulated work yet.2 JK Group - Rising Part 1 (La Sape Records) Multi-dimensional future-jazz outfit JK Group return on La Sape Records. Led by award-winning saxophonist,Joshua Kelly (30/70 collective, PBS Young Elder of Jazz 2019), the band returns to the label with a follow up EP to the mind-bending 2021 release, 'What's Real?'3 Brian Auger, Julie Driscoll & The Trinity - Red Beans and Rice (Far Horizons !K7)Next week on CPG: Classical Ghosts, classic Monk & Nicholas Payton direct from his couch! Have you subscribed on Apple Podcasts yet? Get clicking so you don't miss the launch!!
Nuestra portada la ocupó el 40 aniversario de uno de los discos más icónicos de los canadienses Rush, Moving Pictures. Después, descubriremos juntos la música de Tuomas Kauppinen y sus Nobody, de los que escuchamos Eternal Fire, del 2021. También tendremos de vuelta a Brant Bjork, en este caso junto a The Bros. en el que sería su segundo trabajo de estudio juntos, el estupendo Somera Sól, publicado en 2008. Y nuestra pincelada de rock clásico vendrá de la mano de la vocalista Julie Driscoll y su legendario 1969, álbum estupendo, segundo de la vocalista y que vio la luz en 1971. Continue reading La Ruleta Rusa 07.2023. Rush, 40 aniversario de Moving Pictures. Nobody. Brant Bjork & The Bros. Julie Driscoll. at La Ruleta Rusa Radio Rock.
Episode 162 of A History of Rock Music in Five Hundred Songs looks at "Daydream Believer", and the later career of the Monkees, and how four Pinocchios became real boys. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Born to be Wild" by Steppenwolf. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as even after splitting it into multiple files, there are simply too many Monkees tracks excerpted. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, none of those are in print. However, at the time of writing there is a new four-CD super-deluxe box set of Headquarters (with a remixed version of the album rather than the original mixes I've excerpted here) available from that site, and I used the liner notes for that here. Monkees.com also currently has the intermittently-available BluRay box set of the entire Monkees TV series, which also has Head and 33 1/3 Revolutions Per Monkee. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book in 2021, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters — Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Monkees, they were in a state of flux. To recap what we covered in that episode, the Monkees were originally cast as actors in a TV show, and consisted of two actors with some singing ability -- the former child stars Davy Jones and Micky Dolenz -- and two musicians who were also competent comic actors, Michael Nesmith and Peter Tork. The show was about a fictional band whose characters shared names with their actors, and there had quickly been two big hit singles, and two hit albums, taken from the music recorded for the TV show's soundtrack. But this had caused problems for the actors. The records were being promoted as being by the fictional group in the TV series, blurring the line between the TV show and reality, though in fact for the most part they were being made by session musicians with only Dolenz or Jones adding lead vocals to pre-recorded backing tracks. Dolenz and Jones were fine with this, but Nesmith, who had been allowed to write and produce a few album tracks himself, wanted more creative input, and more importantly felt that he was being asked to be complicit in fraud because the records credited the four Monkees as the musicians when (other than a tiny bit of inaudible rhythm guitar by Tork on a couple of Nesmith's tracks) none of them played on them. Tork, meanwhile, believed he had been promised that the group would be an actual group -- that they would all be playing on the records together -- and felt hurt and annoyed that this wasn't the case. They were by now playing live together to promote the series and the records, with Dolenz turning out to be a perfectly competent drummer, so surely they could do the same in the studio? So in January 1967, things came to a head. It's actually quite difficult to sort out exactly what happened, because of conflicting recollections and opinions. What follows is my best attempt to harmonise the different versions of the story into one coherent narrative, but be aware that I could be wrong in some of the details. Nesmith and Tork, who disliked each other in most respects, were both agreed that this couldn't continue and that if there were going to be Monkees records released at all, they were going to have the Monkees playing on them. Dolenz, who seems to have been the one member of the group that everyone could get along with, didn't really care but went along with them for the sake of group harmony. And Bob Rafelson and Bert Schneider, the production team behind the series, also took Nesmith and Tork's side, through a general love of mischief. But on the other side was Don Kirshner, the music publisher who was in charge of supervising the music for the TV show. Kirshner was adamantly, angrily, opposed to the very idea of the group members having any input at all into how the records were made. He considered that they should be grateful for the huge pay cheques they were getting from records his staff writers and producers were making for them, and stop whinging. And Davy Jones was somewhere in the middle. He wanted to support his co-stars, who he genuinely liked, but also, he was a working actor, he'd had other roles before, he'd have other roles afterwards, and as a working actor you do what you're told if you don't want to lose the job you've got. Jones had grown up in very severe poverty, and had been his family's breadwinner from his early teens, and artistic integrity is all very nice, but not as nice as a cheque for a quarter of a million dollars. Although that might be slightly unfair -- it might be fairer to say that artistic integrity has a different meaning to someone like Jones, coming from musical theatre and a tradition of "the show must go on", than it does to people like Nesmith and Tork who had come up through the folk clubs. Jones' attitude may also have been affected by the fact that his character in the TV show didn't play an instrument other than the occasional tambourine or maracas. The other three were having to mime instrumental parts they hadn't played, and to reproduce them on stage, but Jones didn't have that particular disadvantage. Bert Schneider, one of the TV show's producers, encouraged the group to go into the recording studio themselves, with a producer of their choice, and cut a couple of tracks to prove what they could do. Michael Nesmith, who at this point was the one who was most adamant about taking control of the music, chose Chip Douglas to produce. Douglas was someone that Nesmith had known a little while, as they'd both played the folk circuit -- in Douglas' case as a member of the Modern Folk Quartet -- but Douglas had recently joined the Turtles as their new bass player. At this point, Douglas had never officially produced a record, but he was a gifted arranger, and had just arranged the Turtles' latest single, which had just been released and was starting to climb the charts: [Excerpt: The Turtles, "Happy Together"] Douglas quit the Turtles to work with the Monkees, and took the group into the studio to cut two demo backing tracks for a potential single as a proof of concept. These initial sessions didn't have any vocals, but featured Nesmith on guitar, Tork on piano, Dolenz on drums, Jones on tambourine, and an unknown bass player -- possibly Douglas himself, possibly Nesmith's friend John London, who he'd played with in Mike and John and Bill. They cut rough tracks of two songs, "All of Your Toys", by another friend of Nesmith's, Bill Martin, and Nesmith's "The Girl I Knew Somewhere": [Excerpt: The Monkees, "The Girl I Knew Somewhere (Gold Star Demo)"] Those tracks were very rough and ready -- they were garage-band tracks rather than the professional studio recordings that the Candy Store Prophets or Jeff Barry's New York session players had provided for the previous singles -- but they were competent in the studio, thanks largely to Chip Douglas' steadying influence. As Douglas later said "They could hardly play. Mike could play adequate rhythm guitar. Pete could play piano but he'd make mistakes, and Micky's time on drums was erratic. He'd speed up or slow down." But the takes they managed to get down showed that they *could* do it. Rafelson and Schneider agreed with them that the Monkees could make a single together, and start recording at least some of their own tracks. So the group went back into the studio, with Douglas producing -- and with Lester Sill from the music publishers there to supervise -- and cut finished versions of the two songs. This time the lineup was Nesmith on guitar, Tork on electric harpsichord -- Tork had always been a fan of Bach, and would in later years perform Bach pieces as his solo spot in Monkees shows -- Dolenz on drums, London on bass, and Jones on tambourine: [Excerpt: The Monkees, "The Girl I Knew Somewhere (first recorded version)"] But while this was happening, Kirshner had been trying to get new Monkees material recorded without them -- he'd not yet agreed to having the group play on their own records. Three days after the sessions for "All of Your Toys" and "The Girl I Knew Somewhere", sessions started in New York for an entire album's worth of new material, produced by Jeff Barry and Denny Randell, and largely made by the same Red Bird Records team who had made "I'm a Believer" -- the same musicians who in various combinations had played on everything from "Sherry" by the Four Seasons to "Like a Rolling Stone" by Dylan to "Leader of the Pack", and with songs by Neil Diamond, Jeff Barry and Ellie Greenwich, Leiber and Stoller, and the rest of the team of songwriters around Red Bird. But at this point came the meeting we talked about towards the end of the "Last Train to Clarksville" episode, in which Nesmith punched a hole in a hotel wall in frustration at what he saw as Kirshner's obstinacy. Kirshner didn't want to listen to the recordings the group had made. He'd promised Jeff Barry and Neil Diamond that if "I'm a Believer" went to number one, Barry would get to produce, and Diamond write, the group's next single. Chip Douglas wasn't a recognised producer, and he'd made this commitment. But the group needed a new single out. A compromise was offered, of sorts, by Kirshner -- how about if Barry flew over from New York to LA to produce the group, they'd scrap the tracks both the group and Barry had recorded, and Barry would produce new tracks for the songs he'd recorded, with the group playing on them? But that wouldn't work either. The group members were all due to go on holiday -- three of them were going to make staggered trips to the UK, partly to promote the TV series, which was just starting over here, and partly just to have a break. They'd been working sixty-plus hour weeks for months between the TV series, live performances, and the recording studio, and they were basically falling-down tired, which was one of the reasons for Nesmith's outburst in the meeting. They weren't accomplished enough musicians to cut tracks quickly, and they *needed* the break. On top of that, Nesmith and Barry had had a major falling-out at the "I'm a Believer" session, and Nesmith considered it a matter of personal integrity that he couldn't work with a man who in his eyes had insulted his professionalism. So that was out, but there was also no way Kirshner was going to let the group release a single consisting of two songs he hadn't heard, produced by a producer with no track record. At first, the group were insistent that "All of Your Toys" should be the A-side for their next single: [Excerpt: The Monkees, "All Of Your Toys"] But there was an actual problem with that which they hadn't foreseen. Bill Martin, who wrote the song, was under contract to another music publisher, and the Monkees' contracts said they needed to only record songs published by Screen Gems. Eventually, it was Micky Dolenz who managed to cut the Gordian knot -- or so everyone thought. Dolenz was the one who had the least at stake of any of them -- he was already secure as the voice of the hits, he had no particular desire to be an instrumentalist, but he wanted to support his colleagues. Dolenz suggested that it would be a reasonable compromise to put out a single with one of the pre-recorded backing tracks on one side, with him or Jones singing, and with the version of "The Girl I Knew Somewhere" that the band had recorded together on the other. That way, Kirshner and the record label would get their new single without too much delay, the group would still be able to say they'd started recording their own tracks, everyone would get some of what they wanted. So it was agreed -- though there was a further stipulation. "The Girl I Knew Somewhere" had Nesmith singing lead vocals, and up to that point every Monkees single had featured Dolenz on lead on both sides. As far as Kirshner and the other people involved in making the release decisions were concerned, that was the way things were going to continue. Everyone was fine with this -- Nesmith, the one who was most likely to object in principle, in practice realised that having Dolenz sing his song would make it more likely to be played on the radio and used in the TV show, and so increase his royalties. A vocal session was arranged in New York for Dolenz and Jones to come and cut some vocal tracks right before Dolenz and Nesmith flew over to the UK. But in the meantime, it had become even more urgent for the group to be seen to be doing their own recording. An in-depth article on the group in the Saturday Evening Post had come out, quoting Nesmith as saying "It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured and put on the air strictly with a lot of hoopla. Tell the world we're synthetic because, damn it, we are. Tell them the Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. The show is really a part of us. They're not seeing something invalid." The press immediately jumped on the band, and started trying to portray them as con artists exploiting their teenage fans, though as Nesmith later said "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact it was me that was making the attempt to maintain the integrity. So the press went into a full-scale war against us." Tork, on the other hand, while he and Nesmith were on the same side about the band making their own records, blamed Nesmith for much of the press reaction, later saying "Michael blew the whistle on us. If he had gone in there with pride and said 'We are what we are and we have no reason to hang our heads in shame' it never would have happened." So as far as the group were concerned, they *needed* to at least go with Dolenz's suggested compromise. Their personal reputations were on the line. When Dolenz arrived at the session in New York, he was expecting to be asked to cut one vocal track, for the A-side of the next single (and presumably a new lead vocal for "The Girl I Knew Somewhere"). When he got there, though, he found that Kirshner expected him to record several vocals so that Kirshner could choose the best. That wasn't what had been agreed, and so Dolenz flat-out refused to record anything at all. Luckily for Kirshner, Jones -- who was the most co-operative member of the band -- was willing to sing a handful of songs intended for Dolenz as well as the ones he was meant to sing. So the tape of "A Little Bit Me, A Little Bit You", the song intended for the next single, was slowed down so it would be in a suitable key for Jones instead, and he recorded the vocal for that: [Excerpt: The Monkees, "A Little Bit Me, A Little Bit You"] Incidentally, while Jones recorded vocals for several more tracks at the session -- and some would later be reused as album tracks a few years down the line -- not all of the recorded tracks were used for vocals, and this later gave rise to a rumour that has been repeated as fact by almost everyone involved, though it was a misunderstanding. Kirshner's next major success after the Monkees was another made-for-TV fictional band, the Archies, and their biggest hit was "Sugar Sugar", co-written and produced by Jeff Barry: [Excerpt: The Archies, "Sugar Sugar"] Both Kirshner and the Monkees have always claimed that the Monkees were offered "Sugar, Sugar" and turned it down. To Kirshner the moral of the story was that since "Sugar, Sugar" was a massive hit, it proved his instincts right and proved that the Monkees didn't know what would make a hit. To the Monkees, on the other hand, it showed that Kirshner wanted them to do bubblegum music that they considered ridiculous. This became such an established factoid that Dolenz regularly tells the story in his live performances, and includes a version of "Sugar, Sugar" in them, rearranged as almost a torch song: [Excerpt: Micky Dolenz, "Sugar, Sugar (live)"] But in fact, "Sugar, Sugar" wasn't written until long after Kirshner and the Monkees had parted ways. But one of the songs for which a backing track was recorded but no vocals were ever completed was "Sugar Man", a song by Denny Randell and Sandy Linzer, which they would later release themselves as an unsuccessful single: [Excerpt: Linzer and Randell, "Sugar Man"] Over the years, the Monkees not recording "Sugar Man" became the Monkees not recording "Sugar, Sugar". Meanwhile, Dolenz and Nesmith had flown over to the UK to do some promotional work and relax, and Jones soon also flew over, though didn't hang out with his bandmates, preferring to spend more time with his family. Both Dolenz and Nesmith spent a lot of time hanging out with British pop stars, and were pleased to find that despite the manufactured controversy about them being a manufactured group, none of the British musicians they admired seemed to care. Eric Burdon, for example, was quoted in the Melody Maker as saying "They make very good records, I can't understand how people get upset about them. You've got to make up your minds whether a group is a record production group or one that makes live appearances. For example, I like to hear a Phil Spector record and I don't worry if it's the Ronettes or Ike and Tina Turner... I like the Monkees record as a grand record, no matter how people scream. So somebody made a record and they don't play, so what? Just enjoy the record." Similarly, the Beatles were admirers of the Monkees, especially the TV show, despite being expected to have a negative opinion of them, as you can hear in this contemporary recording of Paul McCartney answering a fan's questions: Excerpt: Paul McCartney talks about the Monkees] Both Dolenz and Nesmith hung out with the Beatles quite a bit -- they both visited Sgt. Pepper recording sessions, and if you watch the film footage of the orchestral overdubs for "A Day in the Life", Nesmith is there with all the other stars of the period. Nesmith and his wife Phyllis even stayed with the Lennons for a couple of days, though Cynthia Lennon seems to have thought of the Nesmiths as annoying intruders who had been invited out of politeness and not realised they weren't wanted. That seems plausible, but at the same time, John Lennon doesn't seem the kind of person to not make his feelings known, and Michael Nesmith's reports of the few days they stayed there seem to describe a very memorable experience, where after some initial awkwardness he developed a bond with Lennon, particularly once he saw that Lennon was a fan of Captain Beefheart, who was a friend of Nesmith, and whose Safe as Milk album Lennon was examining when Nesmith turned up, and whose music at this point bore a lot of resemblance to the kind of thing Nesmith was doing: [Excerpt: Captain Beefheart and the Magic Band, "Yellow Brick Road"] Or at least, that's how Nesmith always told the story later -- though Safe as Milk didn't come out until nearly six months later. It's possible he's conflating memories from a later trip to the UK in June that year -- where he also talked about how Lennon was the only person he'd really got on with on the previous trip, because "he's a compassionate person. I know he has a reputation for being caustic, but it is only a cover for the depth of his feeling." Nesmith and Lennon apparently made some experimental music together during the brief stay, with Nesmith being impressed by Lennon's Mellotron and later getting one himself. Dolenz, meanwhile, was spending more time with Paul McCartney, and with Spencer Davis of his current favourite band The Spencer Davis Group. But even more than that he was spending a lot of time with Samantha Juste, a model and TV presenter whose job it was to play the records on Top of the Pops, the most important British TV pop show, and who had released a record herself a couple of months earlier, though it hadn't been a success: [Excerpt: Samantha Juste, "No-one Needs My Love Today"] The two quickly fell deeply in love, and Juste would become Dolenz's first wife the next year. When Nesmith and Dolenz arrived back in the US after their time off, they thought the plan was still to release "A Little Bit Me, A Little Bit You" with "The Girl I Knew Somewhere" on the B-side. So Nesmith was horrified to hear on the radio what the announcer said were the two sides of the new Monkees single -- "A Little Bit Me, A Little Bit You", and "She Hangs Out", another song from the Jeff Barry sessions with a Davy vocal. Don Kirshner had gone ahead and picked two songs from the Jeff Barry sessions and delivered them to RCA Records, who had put a single out in Canada. The single was very, *very* quickly withdrawn once the Monkees and the TV producers found out, and only promo copies seem to circulate -- rather than being credited to "the Monkees", both sides are credited to '"My Favourite Monkee" Davy Jones Sings'. The record had been withdrawn, but "A Little Bit Me, A Little Bit You" was clearly going to have to be the single. Three days after the record was released and pulled, Nesmith, Dolenz and Tork were back in the studio with Chip Douglas, recording a new B-side -- a new version of "The Girl I Knew Somewhere", this time with Dolenz on vocals. As Jones was still in the UK, John London added the tambourine part as well as the bass: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] As Nesmith told the story a couple of months later, "Bert said 'You've got to get this thing in Micky's key for Micky to sing it.' I said 'Has Donnie made a commitment? I don't want to go there and break my neck in order to get this thing if Donnie hasn't made a commitment. And Bert refused to say anything. He said 'I can't tell you anything except just go and record.'" What had happened was that the people at Columbia had had enough of Kirshner. As far as Rafelson and Schneider were concerned, the real problem in all this was that Kirshner had been making public statements taking all the credit for the Monkees' success and casting himself as the puppetmaster. They thought this was disrespectful to the performers -- and unstated but probably part of it, that it was disrespectful to Rafelson and Schneider for their work putting the TV show together -- and that Kirshner had allowed his ego to take over. Things like the liner notes for More of the Monkees which made Kirshner and his stable of writers more important than the performers had, in the view of the people at Raybert Productions, put the Monkees in an impossible position and forced them to push back. Schneider later said "Kirshner had an ego that transcended everything else. As a matter of fact, the press issue was probably magnified a hundred times over because of Kirshner. He wanted everybody thinking 'Hey, he's doing all this, not them.' In the end it was very self-destructive because it heightened the whole press issue and it made them feel lousy." Kirshner was out of a job, first as the supervisor for the Monkees and then as the head of Columbia/Screen Gems Music. In his place came Lester Sill, the man who had got Leiber and Stoller together as songwriters, who had been Lee Hazelwood's production partner on his early records with Duane Eddy, and who had been the "Les" in Philles Records until Phil Spector pushed him out. Sill, unlike Kirshner, was someone who was willing to take a back seat and just be a steadying hand where needed. The reissued version of "A Little Bit Me, A Little Bit You" went to number two on the charts, behind "Somethin' Stupid" by Frank and Nancy Sinatra, produced by Sill's old colleague Hazelwood, and the B-side, "The Girl I Knew Somewhere", also charted separately, making number thirty-nine on the charts. The Monkees finally had a hit that they'd written and recorded by themselves. Pinocchio had become a real boy: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] At the same session at which they'd recorded that track, the Monkees had recorded another Nesmith song, "Sunny Girlfriend", and that became the first song to be included on a new album, which would eventually be named Headquarters, and on which all the guitar, keyboard, drums, percussion, banjo, pedal steel, and backing vocal parts would for the first time be performed by the Monkees themselves. They brought in horn and string players on a couple of tracks, and the bass was variously played by John London, Chip Douglas, and Jerry Yester as Tork was more comfortable on keyboards and guitar than bass, but it was in essence a full band album. Jones got back the next day, and sessions began in earnest. The first song they recorded after his return was "Mr. Webster", a Boyce and Hart song that had been recorded with the Candy Store Prophets in 1966 but hadn't been released. This was one of three tracks on the album that were rerecordings of earlier outtakes, and it's fascinating to compare them, to see the strengths and weaknesses of both approaches. In the case of "Mr. Webster", the instrumental backing on the earlier version is definitely slicker: [Excerpt: The Monkees, "Mr. Webster (1st Recorded Version)"] But at the same time, there's a sense of dynamics in the group recording that's lacking from the original, like the backing dropping out totally on the word "Stop" -- a nice touch that isn't in the original. I am only speculating, but this may have been inspired by the similar emphasis on the word "stop" in "For What It's Worth" by Tork's old friend Stephen Stills: [Excerpt: The Monkees, "Mr. Webster (album version)"] Headquarters was a group album in another way though -- for the first time, Tork and Dolenz were bringing in songs they'd written -- Nesmith of course had supplied songs already for the two previous albums. Jones didn't write any songs himself yet, though he'd start on the next album, but he was credited with the rest of the group on two joke tracks, "Band 6", a jam on the Merrie Melodies theme “Merrily We Roll Along”, and "Zilch", a track made up of the four band members repeating nonsense phrases: [Excerpt: The Monkees, "Zilch"] Oddly, that track had a rather wider cultural resonance than a piece of novelty joke album filler normally would. It's sometimes covered live by They Might Be Giants: [Excerpt: They Might Be Giants, "Zilch"] While the rapper Del Tha Funkee Homosapien had a worldwide hit in 1991 with "Mistadobalina", built around a sample of Peter Tork from the track: [Excerpt: Del Tha Funkee Homosapien,"Mistadobalina"] Nesmith contributed three songs, all of them combining Beatles-style pop music and country influences, none more blatantly than the opening track, "You Told Me", which starts off parodying the opening of "Taxman", before going into some furious banjo-picking from Tork: [Excerpt: The Monkees, "You Told Me"] Tork, meanwhile, wrote "For Pete's Sake" with his flatmate of the time, and that became the end credits music for season two of the TV series: [Excerpt: The Monkees, "For Pete's Sake"] But while the other band members made important contributions, the track on the album that became most popular was the first song of Dolenz's to be recorded by the group. The lyrics recounted, in a semi-psychedelic manner, Dolenz's time in the UK, including meeting with the Beatles, who the song refers to as "the four kings of EMI", but the first verse is all about his new girlfriend Samantha Juste: [Excerpt: The Monkees, "Randy Scouse Git"] The song was released as a single in the UK, but there was a snag. Dolenz had given the song a title he'd heard on an episode of the BBC sitcom Til Death Us Do Part, which he'd found an amusing bit of British slang. Til Death Us Do Part was written by Johnny Speight, a writer with Associated London Scripts, and was a family sitcom based around the character of Alf Garnett, an ignorant, foul-mouthed reactionary bigot who hated young people, socialists, and every form of minority, especially Black people (who he would address by various slurs I'm definitely not going to repeat here), and was permanently angry at the world and abusive to his wife. As with another great sitcom from ALS, Steptoe and Son, which Norman Lear adapted for the US as Sanford and Son, Til Death Us Do Part was also adapted by Lear, and became All in the Family. But while Archie Bunker, the character based on Garnett in the US version, has some redeeming qualities because of the nature of US network sitcom, Alf Garnett has absolutely none, and is as purely unpleasant and unsympathetic a character as has ever been created -- which sadly didn't stop a section of the audience from taking him as a character to be emulated. A big part of the show's dynamic was the relationship between Garnett and his socialist son-in-law from Liverpool, played by Anthony Booth, himself a Liverpudlian socialist who would later have a similarly contentious relationship with his own decidedly non-socialist son-in-law, the future Prime Minister Tony Blair. Garnett was as close to foul-mouthed as was possible on British TV at the time, with Speight regularly negotiating with the BBC bosses to be allowed to use terms that were not otherwise heard on TV, and used various offensive terms about his family, including referring to his son-in-law as a "randy Scouse git". Dolenz had heard the phrase on TV, had no idea what it meant but loved the sound of it, and gave the song that title. But when the record came out in the UK, he was baffled to be told that the phrase -- which he'd picked up from a BBC TV show, after all -- couldn't be said normally on BBC broadcasts, so they would need to retitle the track. The translation into American English that Dolenz uses in his live shows to explain this to Americans is to say that "randy Scouse git" means "horny Liverpudlian putz", and that's more or less right. Dolenz took the need for an alternative title literally, and so the track that went to number two in the UK charts was titled "Alternate Title": [Excerpt: The Monkees, "Randy Scouse Git"] The album itself went to number one in both the US and the UK, though it was pushed off the top spot almost straight away by the release of Sgt Pepper. As sessions for Headquarters were finishing up, the group were already starting to think about their next album -- season two of the TV show was now in production, and they'd need to keep generating yet more musical material for it. One person they turned to was a friend of Chip Douglas'. Before the Turtles, Douglas had been in the Modern Folk Quartet, and they'd recorded "This Could Be the Night", which had been written for them by Harry Nilsson: [Excerpt: The MFQ, "This Could Be The Night"] Nilsson had just started recording his first solo album proper, at RCA Studios, the same studios that the Monkees were using. At this point, Nilsson still had a full-time job in a bank, working a night shift there while working on his album during the day, but Douglas knew that Nilsson was a major talent, and that assessment was soon shared by the group when Nilsson came in to demo nine of his songs for them: [Excerpt: Harry Nilsson, "1941 (demo)"] According to Nilsson, Nesmith said after that demo session "You just sat down there and blew our minds. We've been looking for songs, and you just sat down and played an *album* for us!" While the Monkees would attempt a few of Nilsson's songs over the next year or so, the first one they chose to complete was the first track recorded for their next album, Pisces, Aquarius, Capricorn, and Jones, Ltd., a song which from the talkback at the beginning of the demo was always intended for Davy Jones to sing: [Excerpt: Harry Nilsson, "Cuddly Toy (demo)"] Oddly, given his romantic idol persona, a lot of the songs given to Jones to sing were anti-romantic, and often had a cynical and misogynistic edge. This had started with the first album's "I Want to Be Free", but by Pisces, it had gone to ridiculous extremes. Of the four songs Jones sings on the album, "Hard to Believe", the first song proper that he ever co-wrote, is a straightforward love song, but the other three have a nasty edge to them. A remade version of Jeff Barry's "She Hangs Out" is about an underaged girl, starts with the lines "How old d'you say your sister was? You know you'd better keep an eye on her" and contains lines like "she could teach you a thing or two" and "you'd better get down here on the double/before she gets her pretty little self in trouble/She's so fine". Goffin and King's "Star Collector" is worse, a song about a groupie with lines like "How can I love her, if I just don't respect her?" and "It won't take much time, before I get her off my mind" But as is so often the way, these rather nasty messages were wrapped up in some incredibly catchy music, and that was even more the case with "Cuddly Toy", a song which at least is more overtly unpleasant -- it's very obvious that Nilsson doesn't intend the protagonist of the song to be at all sympathetic, which is possibly not the case in "She Hangs Out" or "Star Collector". But the character Jones is singing is *viciously* cruel here, mocking and taunting a girl who he's coaxed to have sex with him, only to scorn her as soon as he's got what he wanted: [Excerpt: The Monkees, "Cuddly Toy"] It's a great song if you like the cruelest of humour combined with the cheeriest of music, and the royalties from the song allowed Nilsson to quit the job at the bank. "Cuddly Toy", and Chip Douglas and Bill Martin's song "The Door Into Summer", were recorded the same way as Headquarters, with the group playing *as a group*, but as recordings for the album progressed the group fell into a new way of working, which Peter Tork later dubbed "mixed-mode". They didn't go back to having tracks cut for them by session musicians, apart from Jones' song "Hard to Believe", for which the entire backing track was created by one of his co-writers overdubbing himself, but Dolenz, who Tork always said was "incapable of repeating a triumph", was not interested in continuing to play drums in the studio. Instead, a new hybrid Monkees would perform most of the album. Nesmith would still play the lead guitar, Tork would provide the keyboards, Chip Douglas would play all the bass and add some additional guitar, and "Fast" Eddie Hoh, the session drummer who had been a touring drummer with the Modern Folk Quartet and the Mamas and the Papas, among others, would play drums on the records, with Dolenz occasionally adding a bit of acoustic guitar. And this was the lineup that would perform on the hit single from Pisces. "Pleasant Valley Sunday" was written by Gerry Goffin and Carole King, who had written several songs for the group's first two albums (and who would continue to provide them with more songs). As with their earlier songs for the group, King had recorded a demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] Previously -- and subsequently -- when presented with a Carole King demo, the group and their producers would just try to duplicate it as closely as possible, right down to King's phrasing. Bob Rafelson has said that he would sometimes hear those demos and wonder why King didn't just make records herself -- and without wanting to be too much of a spoiler for a few years' time, he wasn't the only one wondering that. But this time, the group had other plans. In particular, they wanted to make a record with a strong guitar riff to it -- Nesmith has later referenced their own "Last Train to Clarksville" and the Beatles' "Day Tripper" as two obvious reference points for the track. Douglas came up with a riff and taught it to Nesmith, who played it on the track: [Excerpt: The Monkees, "Pleasant Valley Sunday"] The track also ended with the strongest psychedelic -- or "psycho jello" as the group would refer to it -- freak out that they'd done to this point, a wash of saturated noise: [Excerpt: The Monkees, "Pleasant Valley Sunday"] King was unhappy with the results, and apparently glared at Douglas the next time they met. This may be because of the rearrangement from her intentions, but it may also be for a reason that Douglas later suspected. When recording the track, he hadn't been able to remember all the details of her demo, and in particular he couldn't remember exactly how the middle eight went. This is the version on King's demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] While here's how the Monkees rendered it, with slightly different lyrics: [Excerpt: The Monkees, "Pleasant Valley Sunday"] I also think there's a couple of chord changes in the second verse that differ between King and the Monkees, but I can't be sure that's not my ears deceiving me. Either way, though, the track was a huge success, and became one of the group's most well-known and well-loved tracks, making number three on the charts behind "All You Need is Love" and "Light My Fire". And while it isn't Dolenz drumming on the track, the fact that it's Nesmith playing guitar and Tork on the piano -- and the piano part is one of the catchiest things on the record -- meant that they finally had a proper major hit on which they'd played (and it seems likely that Dolenz contributed some of the acoustic rhythm guitar on the track, along with Bill Chadwick, and if that's true all three Monkee instrumentalists did play on the track). Pisces is by far and away the best album the group ever made, and stands up well against anything else that came out around that time. But cracks were beginning to show in the group. In particular, the constant battle to get some sort of creative input had soured Nesmith on the whole project. Chip Douglas later said "When we were doing Pisces Michael would come in with three songs; he knew he had three songs coming on the album. He knew that he was making a lot of money if he got his original songs on there. So he'd be real enthusiastic and cooperative and real friendly and get his three songs done. Then I'd say 'Mike, can you come in and help on this one we're going to do with Micky here?' He said 'No, Chip, I can't. I'm busy.' I'd say, 'Mike, you gotta come in the studio.' He'd say 'No Chip, I'm afraid I'm just gonna have to be ornery about it. I'm not comin' in.' That's when I started not liking Mike so much any more." Now, as is so often the case with the stories from this period, this appears to be inaccurate in the details -- Nesmith is present on every track on the album except Jones' solo "Hard to Believe" and Tork's spoken-word track "Peter Percival Patterson's Pet Pig Porky", and indeed this is by far the album with *most* Nesmith input, as he takes five lead vocals, most of them on songs he didn't write. But Douglas may well be summing up Nesmith's *attitude* to the band at this point -- listening to Nesmith's commentaries on episodes of the TV show, by this point he felt disengaged from everything that was going on, like his opinions weren't welcome. That said, Nesmith did still contribute what is possibly the single most innovative song the group ever did, though the innovations weren't primarily down to Nesmith: [Excerpt: The Monkees, "Daily Nightly"] Nesmith always described the lyrics to "Daily Nightly" as being about the riots on Sunset Strip, but while they're oblique, they seem rather to be about streetwalking sex workers -- though it's perhaps understandable that Nesmith would never admit as much. What made the track innovative was the use of the Moog synthesiser. We talked about Robert Moog in the episode on "Good Vibrations" -- he had started out as a Theremin manufacturer, and had built the ribbon synthesiser that Mike Love played live on "Good Vibrations", and now he was building the first commercially available easily usable synthesisers. Previously, electronic instruments had either been things like the clavioline -- a simple monophonic keyboard instrument that didn't have much tonal variation -- or the RCA Mark II, a programmable synth that could make a wide variety of sounds, but took up an entire room and was programmed with punch cards. Moog's machines were bulky but still transportable, and they could be played in real time with a keyboard, but were still able to be modified to make a wide variety of different sounds. While, as we've seen, there had been electronic keyboard instruments as far back as the 1930s, Moog's instruments were for all intents and purposes the first synthesisers as we now understand the term. The Moog was introduced in late spring 1967, and immediately started to be used for making experimental and novelty records, like Hal Blaine's track "Love In", which came out at the beginning of June: [Excerpt: Hal Blaine, "Love In"] And the Electric Flag's soundtrack album for The Trip, the drug exploitation film starring Peter Fonda and Dennis Hopper and written by Jack Nicholson we talked about last time, when Arthur Lee moved into a house used in the film: [Excerpt: The Electric Flag, "Peter's Trip"] In 1967 there were a total of six albums released with a Moog on them (as well as one non-album experimental single). Four of the albums were experimental or novelty instrumental albums of this type. Only two of them were rock albums -- Strange Days by the Doors, and Pisces, Aquarius, Capricorn, & Jones Ltd by the Monkees. The Doors album was released first, but I believe the Monkees tracks were recorded before the Doors overdubbed the Moog on the tracks on their album, though some session dates are hard to pin down exactly. If that's the case it would make the Monkees the very first band to use the Moog on an actual rock record (depending on exactly how you count the Trip soundtrack -- this gets back again to my old claim that there's no first anything). But that's not the only way in which "Daily Nightly" was innovative. All the first seven albums to feature the Moog featured one man playing the instrument -- Paul Beaver, the Moog company's West Coast representative, who played on all the novelty records by members of the Wrecking Crew, and on the albums by the Electric Flag and the Doors, and on The Notorious Byrd Brothers by the Byrds, which came out in early 1968. And Beaver did play the Moog on one track on Pisces, "Star Collector". But on "Daily Nightly" it's Micky Dolenz playing the Moog, making him definitely the second person ever to play a Moog on a record of any kind: [Excerpt: The Monkees, "Daily Nightly"] Dolenz indeed had bought his own Moog -- widely cited as being the second one ever in private ownership, a fact I can't check but which sounds plausible given that by 1970 less than thirty musicians owned one -- after seeing Beaver demonstrate the instrument at the Monterey Pop Festival. The Monkees hadn't played Monterey, but both Dolenz and Tork had attended the festival -- if you watch the famous film of it you see Dolenz and his girlfriend Samantha in the crowd a *lot*, while Tork introduced his friends in the Buffalo Springfield. As well as discovering the Moog there, Dolenz had been astonished by something else: [Excerpt: The Jimi Hendrix Experience, "Hey Joe (Live at Monterey)"] As Peter Tork later put it "I didn't get it. At Monterey Jimi followed the Who and the Who busted up their things and Jimi bashed up his guitar. I said 'I just saw explosions and destruction. Who needs it?' But Micky got it. He saw the genius and went for it." Dolenz was astonished by Hendrix, and insisted that he should be the support act on the group's summer tour. This pairing might sound odd on paper, but it made more sense at the time than it might sound. The Monkees were by all accounts a truly astonishing live act at this point -- Frank Zappa gave them a backhanded compliment by saying they were the best-sounding band in LA, before pointing out that this was because they could afford the best equipment. That *was* true, but it was also the case that their TV experience gave them a different attitude to live performance than anyone else performing at the time. A handful of groups had started playing stadiums, most notably of course the Beatles, but all of these acts had come up through playing clubs and theatres and essentially just kept doing their old act with no thought as to how the larger space worked, except to put their amps through a louder PA. The Monkees, though, had *started* in stadiums, and had started out as mass entertainers, and so their live show was designed from the ground up to play to those larger spaces. They had costume changes, elaborate stage sets -- like oversized fake Vox amps they burst out of at the start of the show -- a light show and a screen on which film footage was projected. In effect they invented stadium performances as we now know them. Nesmith later said "In terms of putting on a show there was never any question in my mind, as far as the rock 'n' roll era is concerned, that we put on probably the finest rock and roll stage show ever. It was beautifully lit, beautifully costumed, beautifully produced. I mean, for Christ sakes, it was practically a revue." The Monkees were confident enough in their stage performance that at a recent show at the Hollywood Bowl they'd had Ike and Tina Turner as their opening act -- not an act you'd want to go on after if you were going to be less than great, and an act from very similar chitlin' circuit roots to Jimi Hendrix. So from their perspective, it made sense. If you're going to be spectacular yourselves, you have no need to fear a spectacular opening act. Hendrix was less keen -- he was about the only musician in Britain who *had* made disparaging remarks about the Monkees -- but opening for the biggest touring band in the world isn't an opportunity you pass up, and again it isn't such a departure as one might imagine from the bills he was already playing. Remember that Monterey is really the moment when "pop" and "rock" started to split -- the split we've been talking about for a few months now -- and so the Jimi Hendrix Experience were still considered a pop band, and as such had played the normal British pop band package tours. In March and April that year, they'd toured on a bill with the Walker Brothers, Cat Stevens, and Englebert Humperdinck -- and Hendrix had even filled in for Humperdinck's sick guitarist on one occasion. Nesmith, Dolenz, and Tork all loved having Hendrix on tour with them, just because it gave them a chance to watch him live every night (Jones, whose musical tastes were more towards Anthony Newley, wasn't especially impressed), and they got on well on a personal level -- there are reports of Hendrix jamming with Dolenz and Steve Stills in hotel rooms. But there was one problem, as Dolenz often recreates in his live act: [Excerpt: Micky Dolenz, "Purple Haze"] The audience response to Hendrix from the Monkees' fans was so poor that by mutual agreement he left the tour after only a handful of shows. After the summer tour, the group went back to work on the TV show and their next album. Or, rather, four individuals went back to work. By this point, the group had drifted apart from each other, and from Douglas -- Tork, the one who was still keenest on the idea of the group as a group, thought that Pisces, good as it was, felt like a Chip Douglas album rather than a Monkees album. The four band members had all by now built up their own retinues of hangers-on and collaborators, and on set for the TV show they were now largely staying with their own friends rather than working as a group. And that was now reflected in their studio work. From now on, rather than have a single producer working with them as a band, the four men would work as individuals, producing their own tracks, occasionally with outside help, and bringing in session musicians to work on them. Some tracks from this point on would be genuine Monkees -- plural -- tracks, and all tracks would be credited as "produced by the Monkees", but basically the four men would from now on be making solo tracks which would be combined into albums, though Dolenz and Jones would occasionally guest on tracks by the others, especially when Nesmith came up with a song he thought would be more suited to their voices. Indeed the first new recording that happened after the tour was an entire Nesmith solo album -- a collection of instrumental versions of his songs, called The Wichita Train Whistle Sings, played by members of the Wrecking Crew and a few big band instrumentalists, arranged by Shorty Rogers. [Excerpt: Michael Nesmith, "You Told Me"] Hal Blaine in his autobiography claimed that the album was created as a tax write-off for Nesmith, though Nesmith always vehemently denied it, and claimed it was an artistic experiment, though not one that came off well. Released alongside Pisces, though, came one last group-recorded single. The B-side, "Goin' Down", is a song that was credited to the group and songwriter Diane Hildebrand, though in fact it developed from a jam on someone else's song. Nesmith, Tork, Douglas and Hoh attempted to record a backing track for a version of Mose Allison's jazz-blues standard "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] But after recording it, they'd realised that it didn't sound that much like the original, and that all it had in common with it was a chord sequence. Nesmith suggested that rather than put it out as a cover version, they put a new melody and lyrics to it, and they commissioned Hildebrand, who'd co-written songs for the group before, to write them, and got Shorty Rogers to write a horn arrangement to go over their backing track. The eventual songwriting credit was split five ways, between Hildebrand and the four Monkees -- including Davy Jones who had no involvement with the recording, but not including Douglas or Hoh. The lyrics Hildebrand came up with were a funny patter song about a failed suicide, taken at an extremely fast pace, which Dolenz pulls off magnificently: [Excerpt: The Monkees, "Goin' Down"] The A-side, another track with a rhythm track by Nesmith, Tork, Douglas, and Hoh, was a song that had been written by John Stewart of the Kingston Trio, who you may remember from the episode on "San Francisco" as being a former songwriting partner of John Phillips. Stewart had written the song as part of a "suburbia trilogy", and was not happy with the finished product. He said later "I remember going to bed thinking 'All I did today was write 'Daydream Believer'." Stewart used to include the song in his solo sets, to no great approval, and had shopped the song around to bands like We Five and Spanky And Our Gang, who had both turned it down. He was unhappy with it himself, because of the chorus: [Excerpt: John Stewart, "Daydream Believer"] Stewart was ADHD, and the words "to a", coming as they did slightly out of the expected scansion for the line, irritated him so greatly that he thought the song could never be recorded by anyone, but when Chip Douglas asked if he had any songs, he suggested that one. As it turned out, there was a line of lyric that almost got the track rejected, but it wasn't the "to a". Stewart's original second verse went like this: [Excerpt: John Stewart, "Daydream Believer"] RCA records objected to the line "now you know how funky I can be" because funky, among other meanings, meant smelly, and they didn't like the idea of Davy Jones singing about being smelly. Chip Douglas phoned Stewart to tell him that they were insisting on changing the line, and suggesting "happy" instead. Stewart objected vehemently -- that change would reverse the entire meaning of the line, and it made no sense, and what about artistic integrity? But then, as he later said "He said 'Let me put it to you this way, John. If he can't sing 'happy' they won't do it'. And I said 'Happy's working real good for me now.' That's exactly what I said to him." He never regretted the decision -- Stewart would essentially live off the royalties from "Daydream Believer" for the rest of his life -- though he seemed always to be slightly ambivalent and gently mocking about the song in his own performances, often changing the lyrics slightly: [Excerpt: John Stewart, "Daydream Believer"] The Monkees had gone into the studio and cut the track, again with Tork on piano, Nesmith on guitar, Douglas on bass, and Hoh on drums. Other than changing "funky" to "happy", there were two major changes made in the studio. One seems to have been Douglas' idea -- they took the bass riff from the pre-chorus to the Beach Boys' "Help Me Rhonda": [Excerpt: The Beach Boys, "Help Me Rhonda"] and Douglas played that on the bass as the pre-chorus for "Daydream Believer", with Shorty Rogers later doubling it in the horn arrangement: [Excerpt: The Monkees, "Daydream Believer"] And the other is the piano intro, which also becomes an instrumental bridge, which was apparently the invention of Tork, who played it: [Excerpt: The Monkees, "Daydream Believer"] The track went to number one, becoming the group's third and final number one hit, and their fifth of six million-sellers. It was included on the next album, The Birds, The Bees, and the Monkees, but that piano part would be Tork's only contribution to the album. As the group members were all now writing songs and cutting their own tracks, and were also still rerecording the odd old unused song from the initial 1966 sessions, The Birds, The Bees, and the Monkees was pulled together from a truly astonishing amount of material. The expanded triple-CD version of the album, now sadly out of print, has multiple versions of forty-four different songs, ranging from simple acoustic demos to completed tracks, of which twelve were included on the final album. Tork did record several tracks during the sessions, but he spent much of the time recording and rerecording a single song, "Lady's Baby", which eventually stretched to five different recorded versions over multiple sessions in a five-month period. He racked up huge studio bills on the track, bringing in Steve Stills and Dewey Martin of the Buffalo Springfield, and Buddy Miles, to try to help him capture the sound in his head, but the various takes are almost indistinguishable from one another, and so it's difficult to see what the problem was: [Excerpt: The Monkees, "Lady's Baby"] Either way, the track wasn't finished by the time the album came out, and the album that came out was a curiously disjointed and unsatisfying effort, a mixture of recycled old Boyce and Hart songs, some songs by Jones, who at this point was convinced that "Broadway-rock" was going to be the next big thing and writing songs that sounded like mediocre showtunes, and a handful of experimental songs written by Nesmith. You could pull together a truly great ten- or twelve-track album from the masses of material they'd recorded, but the one that came out was mediocre at best, and became the first Monkees album not to make number one -- though it still made number three and sold in huge numbers. It also had the group's last million-selling single on it, "Valleri", an old Boyce and Hart reject from 1966 that had been remade with Boyce and Hart producing and their old session players, though the production credit was still now given to the Monkees: [Excerpt: The Monkees, "Valleri"] Nesmith said at the time he considered it the worst song ever written. The second season of the TV show was well underway, and despite -- or possibly because of -- the group being clearly stoned for much of the filming, it contains a lot of the episodes that fans of the group think of most fondly, including several episodes that break out of the formula the show had previously established in interesting ways. Tork and Dolenz were both also given the opportunity to direct episodes, and Dolenz also co-wrote his episode, which ended up being the last of the series. In another sign of how the group were being given more creative control over the show, the last three episodes of the series had guest appearances by favourite musicians of the group members who they wanted to give a little exposure to, and those guest appearances sum up the character of the band members remarkably well. Tork, for whatever reason, didn't take up this option, but the other three did. Jones brought on his friend Charlie Smalls, who would later go on to write the music for the Broadway musical The Wiz, to demonstrate to Jones the difference between Smalls' Black soul and Jones' white soul: [Excerpt: Davy Jones and Charlie Smalls] Nesmith, on the other hand, brought on Frank Zappa. Zappa put on Nesmith's Monkee shirt and wool hat and pretended to be Nesmith, and interviewed Nesmith with a false nose and moustache pretending to be Zappa, as they both mercilessly mocked the previous week's segment with Jones and Smalls: [Excerpt: Michael Nesmith and Frank Zappa] Nesmith then "conducted" Zappa as Zappa used a sledgehammer to "play" a car, parodying his own appearance on the Steve Allen Show playing a bicycle, to the presumed bemusement of the Monkees' fanbase who would not be likely to remember a one-off performance on a late-night TV show from five years earlier. And the final thing ever to be shown on an episode of the Monkees didn't feature any of the Monkees at all. Micky Dolenz, who directed and co-wrote that episode, about an evil wizard who was using the power of a space plant (named after the group's slang for dope) to hypnotise people through the TV, chose not to interact with his guest as the others had, but simply had Tim Buckley perform a solo acoustic version of his then-unreleased song "Song to the Siren": [Excerpt: Tim Buckley, "Song to the Siren"] By the end of the second season, everyone knew they didn't want to make another season of the TV show. Instead, they were going to do what Rafelson and Schneider had always wanted, and move into film. The planning stages for the film, which was initially titled Changes but later titled Head -- so that Rafelson and Schneider could bill their next film as "From the guys who gave you Head" -- had started the previous summer, before the sessions that produced The Birds, The Bees, and the Monkees. To write the film, the group went off with Rafelson and Schneider for a short holiday, and took with them their mutual friend Jack Nicholson. Nicholson was at this time not the major film star he later became. Rather he was a bit-part actor who was mostly associated with American International Pictures, the ultra-low-budget film company that has come up on several occasions in this podcast. Nicholson had appeared mostly in small roles, in films like The Little Shop of Horrors: [Excerpt: The Little Shop of Horrors] He'd appeared in multiple films made by Roger Corman, often appearing with Boris Karloff, and by Monte Hellman, but despite having been a working actor for a decade, his acting career was going nowhere, and by this point he had basically given up on the idea of being an actor, and had decided to start working behind the camera. He'd written the scripts for a few of the low-budget films he'd appeared in, and he'd recently scripted The Trip, the film we mentioned earlier: [Excerpt: The Trip trailer] So the group, Rafelson, Schneider, and Nicholson all went away for a weekend, and they all got extremely stoned, took acid, and talked into a tape recorder for hours on end. Nicholson then transcribed those recordings, cleaned them up, and structured the worthwhile ideas into something quite remarkable: [Excerpt: The Monkees, "Ditty Diego"] If the Monkees TV show had been inspired by the Marx Brothers and Three Stooges, and by Richard Lester's directorial style, the only precursor I can find for Head is in the TV work of Lester's colleague Spike Milligan, but I don't think there's any reasonable way in which Nicholson or anyone else involved could have taken inspiration from Milligan's series Q. But what they ended up with is something that resembles, more than anything else, Monty Python's Flying Circus, a TV series that wouldn't start until a year after Head came out. It's a series of ostensibly unconnected sketches, linked by a kind of dream logic, with characters wandering from one loose narrative into a totally different one, actors coming out of character on a regular basis, and no attempt at a coherent narrative. It contains regular examples of channel-zapping, with excerpts from old films being spliced in, and bits of news footage juxtaposed with comedy sketches and musical performances in ways that are sometimes thought-provoking, sometimes distasteful, and occasionally both -- as when a famous piece of footage of a Vietnamese prisoner of war being shot in the head hard-cuts to screaming girls in the audience at a Monkees concert, a performance which ends with the girls tearing apart the group and revealing that they're really just cheap-looking plastic mannequins. The film starts, and ends, with the Monkees themselves attempting suicide, jumping off a bridge into the ocean -- but the end reveals that in fact the ocean they're in is just water in a glass box, and they're trapped in it. And knowing this means that when you watch the film a second time, you find that it does have a story. The Monkees are trapped in a box which in some ways represents life, the universe, and one's own mind, and in other ways represents the TV and their TV careers. Each of them is trying in his own way to escape, and each ends up trapped by his own limitations, condemned to start the cycle over and over again. The film features parodies of popular film genres like the boxing film (Davy is supposed to throw a fight with Sonny Liston at the instruction of gangsters), the Western, and the war film, but huge chunks of the film take place on a film studio backlot, and characters from one segment reappear in another, often commenting negatively on the film or the band, as when Frank Zappa as a critic calls Davy Jones' soft-shoe routine to a Harry Nilsson song "very white", or when a canteen worker in the studio calls the group "God's gift to the eight-year-olds". The film is constantly deconstructing and commenting on itself and the filmmaking process -- Tork hits that canteen worker, whose wig falls off revealing the actor playing her to be a man, and then it's revealed that the "behind the scenes" footage is itself scripted, as director Bob Rafelson and scriptwriter Jack Nicholson come into frame and reassure Tork, who's concerned that hitting a woman would be bad for his image. They tell him they can always cut it from the finished film if it doesn't work. While "Ditty Diego", the almost rap rewriting of the Monkees theme we heard earlier, sets out a lot of how the film asks to be interpreted and how it works narratively, the *spiritual* and thematic core of the film is in another song, Tork's "Long Title (Do I Have to Do This All Over Again?)", which in later solo performances Tork would give the subtitle "The Karma Blues": [Excerpt: The Monkees, "Long Title (Do I Have To Do This All Over Again?)"] Head is an extraordinary film, and one it's impossible to sum up in anything less than an hour-long episode of its own. It's certainly not a film that's to everyone's taste, and not every aspect of it works -- it is a film that is absolutely of its time, in ways that are both good and bad. But it's one of the most inventive things ever put out by a major film studio, and it's one that rightly secured the Monkees a certain amount of cult credibility over the decades. The soundtrack album is a return to form after the disappointing Birds, Bees, too. Nicholson put the album together, linking the eight songs in the film with collages of dialogue and incidental music, repurposing and recontextualising the dialogue to create a new experience, one that people have compared with Frank Zappa's contemporaneous We're Only In It For The Money, though while t
La veu i el so irrepetible de Richie Havens, en un dels seus molts discos memorables. Dia de Reis amb el rei del folk-soul i una obra mestra plena de m
La veu i el so irrepetible de Richie Havens, en un dels seus molts discos memorables. Dia de Reis amb el rei del folk-soul i una obra mestra plena de m
Esta semana en "Islas de Robinson", clásicos del rock de los primeros 70, principalmente británicos. Abrimos con Christine Perfect, eterna en nuestras islas. Suenan: CHRISTINE PERFECT - "CLOSE TO ME" ("CHRISTINE PERFECT", 1970) / CHICKEN SHACK - "MAUDIE" ("ACCEPT", 1970) / JAMES GANG - "TEND MY GARDEN" ("RIDES AGAIN", 1970) / JEFF BECK GROUP - "SHORT BUSINESS" ("ROUGH AND READY", 1971) / CHRIS YOULDEN - "CRYING IN THE ROAD" ("NOWHERE ROAD", 1973) / STONE THE CROWS - "I MAY BE RIGHT I MAYBE WRONG" ("TEENAGE LICKS", 1971) / ROD STEWART - "BLIND PRAYER" ("AN OLD RAINCOAT WON'T EVER LET YOU DOWN", 1970) / REG KING - "THAT AIN'T LIVING" ("REG KING", 1971) / GRAND FUNK RAILROAD - "SOMEONE" ("PHOENIX", 1972) / GARY WRIGHT - "OVER YOU NOW" ("EXTRACTION", 1971) / MIKE HARRISON - "PAIN" ("MIKE HARRISON", 1971) / JULIE DRISCOLL - "NEW AWAKENING" ("1969", 1971) / CHRIS HARWOOD - "BEFORE YOU RIGHT NOW" ("NICE TO MEET MISS CHRISTINE", 1972) / Escuchar audio
Where does the time go ?? Who would belive it, it's the next exciting episode of "The Lost Art" lined up 'n ready to Prog your week. Click away and enjoy the show - Steve and Lou xx To tickle your earlobes this week, we have............... Julie Driscoll with Brain Auger's Trinity - Wheel's On Fire Uriah Heep - Save Me Tonight Focus - Out Of Vesuvius EBB - Krystal At The Red Light Porcupine Tree - Arriving Somewhere, But Not Here Frost* - Dear Dead Days District 97 - All's Well That Ends Well Rush - Between The Wheels Haken - Eternal Rain The Flower Kings - Devil's Playground S/W - Dissolve Hawkwind - Master Of The Universe Peter Gabriel - Don't Break This Rhythm Marillion - Splintering Heart (Live) Jadis - There's A Light Kyros - New Paradigm The Tangent - The Melting Andalusian Skies Magenta - The Lizard King Anathema - Endless Ways IQ - Fire And Security (abridged)
Gianni Avella presenta Awella Mixtape. In questo nuovo episodio: il ritorno dei Goat, John Cale con Weyes Blood, i Drugdealer di Michael Collins, l'esordio di Julianna Riolino, le ristampe di Too-Rye-Ay dei Dexys Midnight Runners, 1969 di Julie Driscoll e altro ancora. Per chi se lo fosse perso, ecco il podcast! www.radioshamal.it - 01-11-2022
Sinfonautas 38 En busca de la Protomolécula 4 Aphrodite's Child, Bee Gees, Julie Driscoll Brian Auger & The Trinity, Donovan, The Moody Blues, RanestRane, Riccardo Romano Land En este episodio, con la nave en pruebas tras las últimas reparaciones, nos ponemos en manos de los altos mandos de nuestra tripulación. Primero asistiremos a una nueva clase magistral del almirante Mora (José Manuel Mora Lajarín) en su búsqueda de la protomolécula musical y a continuación el capitán PicHard (Carlos Duro) nos mostrará sus más recientes descubrimientos. Sonarán temas de los siguientes artistas: Aphrodite's Child, The Bee Gees, Julie Driscoll, Brian Auger & The Trinity, Donovan, The Moody Blues, RanestRane y Riccardo Romano Land, aderezados con las tontás sinfonáuticas de rigor. ¡Acompáñanos, terrícola! Escúchanos y elige reproductor en https://linktr.ee/sinfonautas Escúchanos en Ivoox: https://www.ivoox.com/podcast-sinfonautas_sq_f11317188_1.html #Protomolecula5 #AphroditesChild #BeeGees #JulieDriscollBrianAugerTheTrinity #Donovan #MoodyBlues #RanestRane #RicardoRomanoLand #JoseManuelMoraLajarin #CarlosDuro #Sinfonautas #Sinfonautaspodcast #Sinfoprise
durée : 00:59:40 - Banzzaï du lundi 05 septembre 2022 - par : Nathalie Piolé - 1️⃣9️⃣6️⃣7️⃣ Ce soir, une escapade savoureuse du côté de l'année 1967...
Today we welcome a musical legend to the show. Keyboardist Brian Auger is a musician steeped in the golden age of rock n roll. They say you can judge a man on the company he keeps and Brian Auger has worked with some of the greatest of all time. The Yardbirds, Rod Stewart, Julie Driscoll, Jimi Hendrix, Long John Baldry, Eric Burdon, Alphonse Mouson and a whole host of others. Through his band Brian Augers Oblivion Express he has shared a stage with everyone from Earth Wind and Fire to Led Zepplin and Frank Zappa. After over 50 years performing at the top level we are more than excited to talk to Brian about his Phonographic Memories. We also talk a little bit of politics, Joe Strummers politics in fact. Gregor Gall pops in to talk about his new book 'The Punk politics of Joe Strummer".But we kick off with the glorious news that Eamon has risen from the DJ ashes.Please like, subscribe and tell your friends about us. Deb has written a lovely article about Brian Auger for the Big Issue:https://www.bigissue.com/culture/music/the-legendary-brian-auger-has-a-goldmine-of-tracks-and-rock-anecdotes/You can buy Gregor Gall's book here:https://lighthousebookshop.com/events/the-punk-rock-politics-of-joe-strummerThe Black Wax Solution now lives at The Phoenix Bristol, 'We Climb Disco Mountain' is on the last Friday of every month.https://www.facebook.com/BlackwaxsolutionSee ya in about a month. See acast.com/privacy for privacy and opt-out information.
Juneteenth Day is a federal holiday that takes place on June 19th, each year, and commemorates the emancipation of the slaves in the United States. It has been celebrated in various parts of the country since 1865. In Washington County, Wis., it has become an officially celebrated holiday, with an annual event taking place at The Tower Heritage Center in West Bend each June. This week, County Executive Josh Schoemann and the county's Chief Health and Human Services Officer, Julie Driscoll, join me to talk about the history of Juneteenth Day, how it got started in Washington County, and what to expect at this year's Juneteenth celebration. https://www.history.com/news/what-is-juneteenth (What Is Juneteenth? - HISTORY) https://www.washcowisco.gov/cms/one.aspx?portalId=16228038&pageId=17817722&objectId.705829=18451620&contextId.705829=17817723&parentId.705829=17817724&localStartDate=2022-06-19T13:00&localEndDate=2022-06-19T14:30&ref=mesTP9fg96fVsgzpWYeogEoh%2bS%2bY%2baqxxBDBHur1iIo%3d (Juneteenth Day - Washington County, WI Events Calendar) - Official details on Washington County's Juneteenth Celebration. If you like the show, please consider subscribing at https://podcasts.apple.com/us/podcast/fifteen-minutes-with-fuzz/id1578203280 (Apple Podcasts), https://open.spotify.com/show/51vwn8hpDUqKG8LnACkpYK (Spotify), or https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5jYXB0aXZhdGUuZm0vZmlmdGVlbndpdGhmdXp6Lw (Google Podcasts). New episodes every Monday at midnight. Thanks for listening! https://fifteenwithfuzz.com/ This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
Soul plácido, mucho del West Coast Sound - Cheryl Lynn, Toto, Boz Scaggs, Lee Ritenour -, algo de Brian Auger recuperado, lo nuevo de Robert Glasper con Gregory Porter y Ledisi o Ledisi por sí misma y lo nuevo de nuestra Andrea Motis, y la relación Isley Brothers y George Michael. Mucho soul para que nos guste este lunes. DISCO 1 LEE RITENOUR Countdown (Captain Fingers) DISCO 2 DONNY HATHAWAY Voices Inside (Everything is Everything) DISCO 3 BRIAN AUGER & JULIE DRISCOLL Light My Fire DISCO 4 ROBERT GLASPER & Gregory Porter & Ledisi It Don’t Matter DISCO 5 LEDISI Joy DISCO 6 RANDY CRAWFORD You Might Need Somebody DISCO 7 CRISSI COCHRANE And Still We Move DISCO 8 LEE RITENOUR Is It You DISCO 9 CHERYL LYNN Got To Be Real DISCO 10 CHERYL LYNN/TOTO Georgy Porgy DISCO 11 BOZ SCAGGS Jojo DISCO 12 THE ISLEY BROTHERS That Lady DISCO 13 GEORGE MICHAEL/WHAM iI You Were There DISCO 14 ANDREA MOTIS I had to write a song for you Escuchar audio
A cura di Gigi Longo. Musiche: Brian Auger, Julie Driscoll, Freddie Hubbard, alGot, James Blood Ulmer, Dave Gisler Trio with Jaimie Branch and David Murray, Eclectic Maybe Band, Martin Archer Trio, Corrado Ciervo, Omri Ziegele Where's Africa Trio, Damo Suzuki and Spiritczualic Enhancement Center.
A cura di Gigi Longo. Musiche: Brian Auger, Julie Driscoll, Freddie Hubbard, alGot, James Blood Ulmer, Dave Gisler Trio with Jaimie Branch and David Murray, Eclectic Maybe Band, Martin Archer Trio, Corrado Ciervo, Omri Ziegele Where's Africa Trio, Damo Suzuki and Spiritczualic Enhancement Center.
What do dentists call X-Rays? Tooth Pics Cam and Patrick back in action, we've never interviewed a dentist before: Dr. Julie Driscoll's passion for artistry and admiration of the natural sciences drew her to the field of dentistry. Through artist eyes and attention to detail, she can envision and execute patients' goals and dreams. Upon graduating from the Medical University of South Carolina, she was awarded the Academy of General Dentistry Senior Student Dental Award: for having the greatest knowledge and proficiency in general dentistry. Dr. Driscoll then served as Chief Resident during advanced dentistry residency at UNC-Chapel Hill. Dr. Driscoll's love of travel, service and dentistry led to numerous mission trips, where she was able to utilize her fluency in Spanish to connect with patients. Under the mentorship of Dr. Ananda Seay, she completed Academy of Cosmetic Dentistry residency in the summer of 2021. Dr. Driscoll is in the accreditation process with the American Academy of Cosmetic Dentistry and is a Fellowship candidate in the Academy of General Dentistry. Dr. Driscoll is committed to clinical excellence in the fields of general and cosmetic dentistry; to help patients cultivate self esteem, simply by improving smiles; allowing patients to take better care of their systemic health and pursue their dreams. --- Support this podcast: https://anchor.fm/menshealthunscripted/support
Kurtis was LIVE in the new and improved Face Radio HQ bringing a load of songs for the arrival of Spring.Plus, new releases from Allison & The South Funk Boulevard Band, Alina Bzhezhinska & HipHarpCollective, Robert Glasper, The Jazz Defenders, Sam Redmore, Emma Noble & Nick Corbin, Brian Auger & Julie Driscoll and Brian Jackson.This show was first broadcast on the 20th of March, 2022.For more info and tracklisting, visit: https://thefaceradio.com/the-rendezvous/Tune into new broadcasts of The Rendezvous, LIVE, Sunday from 2 - 4 PM EST / 7 - 9 PM GMT on The Face Radio & Totally Wired Radio.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.comFacebook: https://www.facebook.com/KurtisPowersInstagram: https://www.instagram.com/kurtispowersMixcloud: https://www.mixcloud.com/KurtisPowersSoundcloud: https://soundcloud.com/kurtispowersTwitter: https://twitter.com/kurtispowersEmail: kurtis@thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. See acast.com/privacy for privacy and opt-out information.
Cinquième épisode de la deuxième saison ! Wouhou ! Assez content de la fin de l'épisode, ça fait un bout de temps que je cherchais à incorporer de nouveaux "sons" à mon émission, et heureux d'avoir commencé avec cet entretien sur l'art, qui m'a beaucoup parlé quand je l'ai entendu pour la première fois. Comme toujours, pour me contacter, me congratuler ou me remercier pour votre nouvelle chanson préférée, c'est @yannisyeah sur tous les réseaux sociaux. N'hésitez pas à en parler autour de vous, et à laisser une review positive sur Apple Podcasts et Spotify, c'est très précieux. A plus et bonne écoute ! Quant à la playlist officielle de la première saison, elle se trouve à ces liens : Apple Music - https://music.apple.com/fr/playlist/6-sons-de-la-semaine-saison-1/pl.u-AkAmzW3u2bDG8Dk Spotify - https://open.spotify.com/playlist/6vIfaUFohX27WY9hLn1ABi?si=fdc550fd31784b68 Deezer - https://deezer.page.link/jEPJWx6dP6ECZqWx5 Tracklist : 1. Henry Wu - don't want the regular 2. Julie Driscoll & Brian Auger & The Trinity - Flesh Failures (Let the Sunshine In) 3. FKA Twigs - Darjeeling ft. Jorja Smith & Unknown T 4. Darondo - Didn't I 5. Bob Marlich - Lundi 6. Richard Wagner - Lohegrin - Prelude (Slovak Philharmonic Orchestra) 6bis. Documentaire "Chomo" - Dispo sur la chaine youtube de "J'irai dormir chez vous" (premier docu de Antoine de Maximy) Crédits cover art : Solène Glérant
Carla Bley - Enormous Tots (1974) The vocalist is Julie Tippetts, formerly Julie Driscoll, who sang on releases by Bob Dylan and Donovan. You've heard her before on this show, singing on the Centipede album. Her band of note in the late '60s, Brian Auger and The Trinity, starred in the rarely-seem 33⅓ Revolutions Per Monkee, a post-Head TV special, more psychedelic than the movie if you can believe that. As you know, I love Carla Bley. Her early '70s stuff is amazing. Like Zappa. More abstract. The Move - Feel Too Good (1970) The Carla Bley Band - Musique Mecanique I (1979) This suite is meant (I think) to sound like a mechanical device brought to sentience. I could and probably am very wrong. I love it. The Carla Bley Band - Musique Mecanique II (At Midnight) (1979) The Carla Bley Band - Musique Mecanique III (1979) Electric Light Orchestra - Boy Blue (1974) Electric Light Orchestra - Laredo Tornado (1974) Electric Light Orchestra - Poor Boy (1974) I don't know if it was this album's legend or the fact that there's mostly a real orchestra/chorus, or the wonderful cover, but when I bought this I felt like I was holding something special. It really is a wonderful pop album. Their second-best. Pink Floyd - Dogs (1977) A filmstrip record from American Motors used to train salesmen how to sell the Rebel Machine. (1970) I know nothing about cars. But I did find this record and wanted to play it for you. Nick Mason's Fictitious Sports - Can't Get My Motor To Start (1981) This is a Carla Bley vanity project that was released under Nick Mason's name. He has said he liked the record he did with Rick Fenn (who was in 10CC after Godley and Creme left to develop the Gizmo) better, but it's not nearly as interesting as this. No one knew what to do with this, and people expecting The Wall were probably amused or stunned or both. Louie and the Rockets - Stay Away From Karen (Unholy Rollers) (1972) "Behind-the-scenes life of the Roller Derby circuit... A beautiful young woman joins a Roller Derby team, but her fierce independence and competitive spirit get her into trouble." This song was written by Bobby Hart, one half of the Boyce-Hart team that wrote "Come A Little Bit Closer" as well as a bunch of hits for The Monkees' first couple albums. And the theme. And they toured with Dolenz and Jones in 1975. Louie and the Rockets have a website. Marvin Gaye - "T" Stands For Trouble (1972) From the film "Trouble Man", Marvin Gaye's one and only soundtrack album. Yes - Going For The One (1976)
in onda Alessandro Achilli. Musiche: Diamanda Galás, Julie Driscoll, Nick Drake, Louis Philippe, Egg, Henry Cow, Benoît Delbecq, Anna Clementi, Harriet Riley, Alex Garden, Giampiero Cane, Daniela Cattivelli, Moving Gelatine Plates, BoredByron
in onda Alessandro Achilli. Musiche: Diamanda Galás, Julie Driscoll, Nick Drake, Louis Philippe, Egg, Henry Cow, Benoît Delbecq, Anna Clementi, Harriet Riley, Alex Garden, Giampiero Cane, Daniela Cattivelli, Moving Gelatine Plates, BoredByron
Prequel - Freedom Jazz Dance - Nothing BetterHarold McKinney - Ode To AfricaWorld's Experience Orchestra -The PrayerMax Kochetov Quartet - GroovinJembaa Groove - MokoleKenny Cox - Island Song [BBE Music]Forty Seven Times Its Own Weight - March of The Goober WoobersJohnny "Guitar" Watson - Ain't That A BitchEllen McIlwaine - Higher GroundBrian Auger & Julie Driscoll & The Trinity - JeannineMoses Dillard - Tribute To WesThe Diasonics - DeviantsLance Ferguson - Hot DogSoulstance -Kickin SambaRosalia De Souza - Bossa 31 (Gerrardo Frisina Rework)Flora Purim - This Is MeHermeto Pascoal - Planetário da Gávea - Samba Do BelaquaIwan Van Hetten - Parabbean TalesMoonchild - Love I Need feat. Rapsody
Flatbush Ave Rhythm Band - Voices Inside My Head Hot Chocolate - Heavens In The Back Side Of My Cadillac (The Revenge Edit) Torozebu - Ox Os Tatuis - O Menino das Laranjas Ken Hoon - Brother, Merv Brian Auger, Julie Driscoll & The Trinity - Jeannine Jack Ashford - I'll Fly To Your Open Arms West Side Oasis Band - Don't Let Love Ma$hup Puthli - Space Talk feat. Alex Phountzi x Heidi Vogel Homeboy Sandman - Keep That Same Energy A. Billie Free & The Lasso - Thrive, Despite Bev Lee Harling - Tears On Your Heart Chaka Khan - Clouds (Al Kent Disco Mix) Anushka - Bad Weather (Str4ta Remix) Emanative & Liz Elensky - Love & Light (Royal Dub) Soothsayers - Love And Unity (Victor Rice Vocal Dub Version) Lance Ferguson - Estrelar Zito Mowa - Fofa Diogo Strausz - 50 Anos em 5 (Extended Mix) Dez / Andrés - People Of The World Herbert - Gold Dust feat. Bianca Rose Freda Payne - We've Gotta Find A Way Back To Love
"Just a perfect day, drink sangria in the parkAnd then later, when it gets dark we go homeJust a perfect day, feed animals in the zooThen later a movie, too, and then homeOh, it's such a perfect day, I'm glad I spent it with you"Looking for a "Perfect" 2 hours, perhaps a New Years resolution you can stick with? Join me for "Whole 'Nuther Thing's 1st Sunday Edition of 2022 as I begin my 22nd year on the air in Southern California and where you'll find tunes from Talking Heads, Roxy Music, Patti Smith, Jeff Buckley, George Harrison, Tim Buckley, Simon &Garfunkel, Frank Sinatra, Lee Michaels, Vanilla Fudge, Billy Joel, Tom Petty & Heartbreakers, Led Zeppelin, Brian Auger w Julie Driscoll, Barbara Streisand, Police, Paul McCartney, Elton John, Dan Fogelberg, Jackson Browne, Beatles, Jim Croce, Marmalade and Lou Reed.
"Just a perfect day, drink sangria in the parkAnd then later, when it gets dark we go homeJust a perfect day, feed animals in the zooThen later a movie, too, and then homeOh, it's such a perfect day, I'm glad I spent it with you"Looking for a "Perfect" 2 hours, perhaps a New Years resolution you can stick with? Join me for "Whole 'Nuther Thing's 1st Sunday Edition of 2022 as I begin my 22nd year on the air in Southern California and where you'll find tunes from Talking Heads, Roxy Music, Patti Smith, Jeff Buckley, George Harrison, Tim Buckley, Simon &Garfunkel, Frank Sinatra, Lee Michaels, Vanilla Fudge, Billy Joel, Tom Petty & Heartbreakers, Led Zeppelin, Brian Auger w Julie Driscoll, Barbara Streisand, Police, Paul McCartney, Elton John, Dan Fogelberg, Jackson Browne, Beatles, Jim Croce, Marmalade and Lou Reed.
Another show from us two to entertain your ears and soul,we a blend of brand new and a couple of missed gems lifted from our musical archives.And here is a call to all our lovely chums. please purchase one of our stunning t-shirts @ https://xrp-radio-merchandise.myshopify.com/products/ketch-a-vibe-short-sleeve-unisex-t-shirt.Every t-shirt that is purchased supports all the wonderful artists that we share on our shows to you lot xAja & ClaireEmanative - Petite Planète JK Group - Kempton (Phil Stroud Remix)Irreversible Entanglements - Keys To CreationLevitation Orchestra - DelusionSons of the Sun - Sun Gods [BBE Music]STR4TA - Dance Desire (Steve Conry Takashi Nakazato Remix.)The Mighty Bop - Sunshine MagicDaniel Casimir - Safe (Part 1)Work Money Death - DawnKansas Smitty - Blue RiverDoug Carn - Down DeeperOwiny Sigoma Band-Mutuba (Tropics Mix Feat. Lord Tusk).Brian Auger - Flesh Failures (Let the Sunshine In) feat Julie Driscoll.Gloria Ann Taylor - Brother Less Than A ManThe KBCS-Pockets feat. Olivier St LouisMoonchild - Too GoodEmantive -Stars Collide (Sun Circle Mix)Daniel Casimir - New WatersKira Neris - I Run To Your Side The Architect - Les Pensées
Michael takes on Jodie in this Tuesday edition of the PopMaster Podcast with Ken Bruce.
a cura di Alessandro Achilli. Musiche: Carole King, Charlie Watts, Julie Driscoll, Annette Peacock, Meredith Monk, Candi Staton, Anja Garbarek, Lindsay Cooper, Karen Mantler, Phil Miller, Nostalgia77, Pink Shabab, Rotary Connection, Niobe ecc
a cura di Alessandro Achilli. Musiche: Carole King, Charlie Watts, Julie Driscoll, Annette Peacock, Meredith Monk, Candi Staton, Anja Garbarek, Lindsay Cooper, Karen Mantler, Phil Miller, Nostalgia77, Pink Shabab, Rotary Connection, Niobe ecc
Another hour of selections from my colossal collection plus the usual spots: The Motown Moment with Edwin Starr and Martha & the Vandellas; Bubble Gum & Cheese featuring the Glitter Band and my Look Back At The Sixties with the Everly Brothers, the Searchers and Julie Driscoll, Brian Auger & the Trinity.
Puntata 27 – Playlist: 01 – Oasis – Who Feels Love..02 – John Grant – Billy..03 – Doors – I Will Never be Untrue..04 – Otis Taylor – Black Witch..05 – Julie Driscoll and Brian Auger – This Wheels on Fire..06 – Vincent Gallo – Laura..07 – Lucio Battisti – Straniero..08 – Psychic Temple – Dream Dictionary..09 – Vines – Amnesia..10 – Beach Boys – Don't Worry Baby..11 – Alexi Murdoch – All My Days..12 – The Polish Song and Dance Ensamble – Helokonie..13 – David Bowie – Warsawa..14 – Frank Zappa – Crew Slut
Puntata 27 – Playlist: 01 – Oasis – Who Feels Love..02 – John Grant – Billy..03 – Doors – I Will Never be Untrue..04 – Otis Taylor – Black Witch..05 – Julie Driscoll and Brian Auger – This Wheels on Fire..06 – Vincent Gallo – Laura..07 – Lucio Battisti – Straniero..08 – Psychic Temple – Dream Dictionary..09 – Vines – Amnesia..10 – Beach Boys – Don't Worry Baby..11 – Alexi Murdoch – All My Days..12 – The Polish Song and Dance Ensamble – Helokonie..13 – David Bowie – Warsawa..14 – Frank Zappa – Crew Slut
Hacer un último programa forzado por una jubilación obligatoria no es nada fácil. Lo que se extingue es mi relación laboral con RTVE, no solo el programa en sí, que tendrá este finde una coda final. No he pretendido resumir 44 años y tres meses, en RTVE, de los cuales 34 años y medio son de este programa. Solo he querido agradeceros a los amigos y amigas discopolitas vuestra compañía y fidelidad. Por eso me acuerdo de los técnicos de continuidad, de las técnicas (sobre todo) de grabaciones, de los que están en los centros territoriales. Reivindico las tres personas que están en Paterna, en Planificación, que hacen los podcast. Me acuerdo de las decenas de personas con las que he trabajado en Archivo Sonoro y Documentación de RNE. También de los productores y promotores tan diversos. Y destaco varios nombres singulares que en esta vida profesional me han ayudado mucho: Lola Vega, Migue Angel Martín Caro, Victorino del Pozo, Fernando Argenta, José Manuel Rodriguez "Rodri", Jami (José Antonio Martín Morán), e Ignacio Elguero de Olavide. Son 44 años. He hecho muchos amigos, cientos, y media docena de enemigos. He trabajado en equipos, representando a RNE en la UER, y he tenido un programa de éxito que hoy acaba en su emisión de día laborable. Agradezco profundamente a la Academia de la Música que me otorgará el Premio de Honor a la Comunicación y a todos los demas que me han reconocido humildemente, incluyendo al C.M. San Juan Evangelista. Os he dejado un buen legado, de lo mas diverso. Tirad de podcast porque tenéis material para no aburriros en unos años. NO voy a hacer mi propio podcast, de momento. Guardaré luto y cuando este se alivie, hablaremos. Me voy por la Puerta Grande con la satisfacción del deber cumplido. De momento el miércoles 23 me iré de vacaciones. Contacto: discopolis7@gmail.com. También estoy en Fb y Twitter. Hoy han sonado John Mayall: Room To Move The Who: Go to the Mirror Jack Bruce: The Clearout Julie Driscoll, Brian Auger & the Trinity It's a Beautiful Day: Don and Dewey (por cortesia de un buen amigo discopolita, Jesús Pascual Villalta) Miguel Rios: Cantares Capella i Escolania del Misteri d'Elx: Llevatau's Reina excel-lent Luis González con Pedro Cortejosa: Cantares Discópolis diario se acabó. En finde habrá una coda de Discopolis jazz. Ha sido un placer. Escuchar audio
Hacer un último programa forzado por una jubilación obligatoria no es nada fácil. Lo que se extingue es mi relación laboral con RTVE, no solo el programa en sí, que tendrá este finde una coda final. No he pretendido resumir 44 años y tres meses, en RTVE, de los cuales 34 años y medio son de este programa. Solo he querido agradeceros a los amigos y amigas discopolitas vuestra compañía y fidelidad. Por eso me acuerdo de los técnicos de continuidad, de las técnicas (sobre todo) de grabaciones, de los que están en los centros territoriales. Reivindico las tres personas que están en Paterna, en Planificación, que hacen los podcast. Me acuerdo de las decenas de personas con las que he trabajado en Archivo Sonoro y Documentación de RNE. También de los productores y promotores tan diversos. Y destaco varios nombres singulares que en esta vida profesional me han ayudado mucho: Lola Vega, Migue Angel Martín Caro, Victorino del Pozo, Fernando Argenta, José Manuel Rodriguez "Rodri", Jami (José Antonio Martín Morán), e Ignacio Elguero de Olavide. Son 44 años. He hecho muchos amigos, cientos, y media docena de enemigos. He trabajado en equipos, representando a RNE en la UER, y he tenido un programa de éxito que hoy acaba en su emisión de día laborable. Agradezco profundamente a la Academia de la Música que me otorgará el Premio de Honor a la Comunicación y a todos los demas que me han reconocido humildemente, incluyendo al C.M. San Juan Evangelista. Os he dejado un buen legado, de lo mas diverso. Tirad de podcast porque tenéis material para no aburriros en unos años. NO voy a hacer mi propio podcast, de momento. Guardaré luto y cuando este se alivie, hablaremos. Me voy por la Puerta Grande con la satisfacción del deber cumplido. De momento el miércoles 23 me iré de vacaciones. Contacto: discopolis7@gmail.com. También estoy en Fb y Twitter. Hoy han sonado John Mayall: Room To Move The Who: Go to the Mirror Jack Bruce: The Clearout Julie Driscoll, Brian Auger & the Trinity It's a Beautiful Day: Don and Dewey (por cortesia de un buen amigo discopolita, Jesús Pascual Villalta) Miguel Rios: Cantares Capella i Escolania del Misteri d'Elx: Llevatau's Reina excel-lent Luis González con Pedro Cortejosa: Cantares Discópolis diario se acabó. En finde habrá una coda de Discopolis jazz. Ha sido un placer. Escuchar audio
After however long Curly will be leaving his man cave to go to the Bomb's new studio to do a live radio show with another human being, the Lord of the RC himself, Mr Steven Hastings. There'll be some lost classics discovered during the first half of 2021, Railway Hotel type tunes, chit chat and what have you! PLAYLIST I Want Your Love by Norma White Don't Challenge Me by Makers As Far As I Can Remember Pasteur Lappe Compared to What Roberta Flack Love Bounce by Johnny Cool It Ain't What You Do by J Geils Band Egg Or The End by Coco Taylor Lay This Burdon Down by Mary Love The End Of Our Love by Nancy Wilson Flesh Failures (Let The Sunshine In) by Julie Driscoll, Brian Auger and The Trinity Shimmy Shimmy Koko Bop by Little Anthony and the Imperials Tight Skirt Tight Sweater bu The Versatones Give Him A Great Big Kiss by The Shangri-las Funnel Of Love by Wanda Jackson Goo Goo Muck by Ronnie Cook I'll See You by The Comfortable Chair Les Amis by Francois De Roubaix Migas 2000 by The Liminanas The Hum by Margo Guyan Apples Peaches Pumpkin Pie by Odds and Ends Na Na by Coke Somebody Stole My Thunder by Georgie Fame Small Town Talk by Booby Charles
On this week’s show, we conclude our two-part celebration of Bob Dylan's 80th. We'll hear more of my favorite covers of Dylan's best tunes, including selections from Rhiannon Giddens, Willie Nelson, The Byrds, Martin Simpson and some from Bob as well. Celebrating the legendary icon … this week on The Sing Out! Radio Magazine. Episode #21-21: Happy Birthday, Bob Dylan!, Pt.2 Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways Larry Campbell / “Ragtime Annie” / Rooftops / Treasure Brewer & Shipley / “All Along the Watchtower” / Weeds / BMG-Buddah John Renbourn & Wizz Jones / “Buckets of Rain” / Joint Control / Riverboat Brian Auger & the Trinity w/ Julie Driscoll / “This Wheels on Fire” / Open / Ghostown Bob Dylan / “The Love that Faded” / The Lost Notebooks of Hank Williams / Columbia Rhiannon Giddens / “Spanish Mary” / Lost on the River / Harvest Willie Nelson / “Heartland” / Across the Borderland / Columbia Larry Campbell / “Blind Mary” / Rooftops / Treasure The Byrds / “My Back Pages” / Younger than Yesterday / Columbia Nina Simone / “I Shall Be Released” / Just Like a Woman / RCA-Legacy Happy Traum / “Crash on the Levee (Down in the Flood)” / Just For the Love of It / Lark's Nest Peter, Paul & Mary / “Too Much of Nothing” / Late Again / Warner Brothers Martin Simpson / “Blind Willie McTell” / Vagrant Stanzas / Topic Bob Dylan / “Forever Young” / Planet Waves / Columbia Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways
Today on Let’s talk shop, I speak with Julie Driscoll and Karin Hausmann from Hyve, the organisers of Spring and Autumn Fair. Spring Fair is the UK’s largest home and gift trade show. Julie, Karin and I meet online to hear all about the new Spring and Autumn Fair Online marketplace that is launching on the 4th May. When it launches, Spring and Autumn fair will become an all year around digital marketplace supported by the live events and buyers will be able to register and go through a vetting process to connect and buy from registered brands straight on the platform. We talk about the marketplace, trends in the home and gift industry and what buyers are looking for as well as Autumn Fair. Julie Driscoll, Managing Director UK Retail Julie Driscoll is the Retail and Fashion Managing Director at Hyve Group plc. Uniting key stakeholders behind ambitious omnichannel strategy informed by customer intelligence is how she inspires and empowers organisations. Julie is a board director of the AEO and sits on various other advisory boards and committees including the NEC, the Association of Suppliers to the British Clothing Industry and the Giftware Association and is a judge for various awards. She recently completed an MBA from Imperial College Business School where she was awarded the prestigious scholarship for ‘most inspiring business leader’ with a specialisation in digital business transformation. Karin Hausmann, Digital Marketing Director Karin joined Hyve in 2017 and has held various global senior marketing roles in the business. She is passionate about reaching and connecting communities online and was heavily involved in the company’s pivot to digital in 2020. Karin and her team have been driving the digital marketing agenda and know how to deliver online traffic and engagement to an event or platform. As part of her remit, Karin is now managing the launch of the Spring & Autumn Fair Online Marketplace. If you enjoy the podcast, please leave a review over on Apple podcast as it really helps others discover the podcast too. Connect with Spring and Autumn Fair https://www.springfair.com/ https://www.autumnfair.com/ https://www.instagram.com/springautumnfair/ Online marketplace https://springandautumnfair.eventsunited.net/#/ If you want help with your wholesale please get in touch either on my website, by email or Instagram. Latest courses: https://www.smallbusinesscollaborative.co.uk/courses Connect with me Website: https://www.smallbusinesscollaborative.co.uk/ Instagram: https://www.instagram.com/small_business_collaborative/ Free FB group: https://www.facebook.com/groups/letstalkwholesale Sign-up to my newsletter: https://view.flodesk.com/pages/5df908bbf68c9d00263c9c21
Today on Let’s talk shop, I speak with Julie Driscoll and Karin Hausmann from Hyve, the organisers of Spring and Autumn Fair. Spring Fair is the UK’s largest home and gift trade show. Julie, Karin and I meet online to hear all about the new Spring and Autumn Fair Online marketplace that is launching on the 4th May. When it launches, Spring and Autumn fair will become an all year around digital marketplace supported by the live events and buyers will be able to register and go through a vetting process to connect and buy from registered brands straight on the platform. We talk about the marketplace, trends in the home and gift industry and what buyers are looking for as well as Autumn Fair. Julie Driscoll, Managing Director UK Retail Julie Driscoll is the Retail and Fashion Managing Director at Hyve Group plc. Uniting key stakeholders behind ambitious omnichannel strategy informed by customer intelligence is how she inspires and empowers organisations. Julie is a board director of the AEO and sits on various other advisory boards and committees including the NEC, the Association of Suppliers to the British Clothing Industry and the Giftware Association and is a judge for various awards. She recently completed an MBA from Imperial College Business School where she was awarded the prestigious scholarship for ‘most inspiring business leader’ with a specialisation in digital business transformation. Karin Hausmann, Digital Marketing Director Karin joined Hyve in 2017 and has held various global senior marketing roles in the business. She is passionate about reaching and connecting communities online and was heavily involved in the company’s pivot to digital in 2020. Karin and her team have been driving the digital marketing agenda and know how to deliver online traffic and engagement to an event or platform. As part of her remit, Karin is now managing the launch of the Spring & Autumn Fair Online Marketplace. If you enjoy the podcast, please leave a review over on Apple podcast as it really helps others discover the podcast too. Connect with Spring and Autumn Fair https://www.springfair.com/ https://www.autumnfair.com/ https://www.instagram.com/springautumnfair/ Online marketplace https://springandautumnfair.eventsunited.net/#/ If you want help with your wholesale please get in touch either on my website, by email or Instagram. Latest courses: https://www.smallbusinesscollaborative.co.uk/courses Connect with me Website: https://www.smallbusinesscollaborative.co.uk/ Instagram: https://www.instagram.com/small_business_collaborative/ Free FB group: https://www.facebook.com/groups/letstalkwholesale Sign-up to my newsletter: https://view.flodesk.com/pages/5df908bbf68c9d00263c9c21
Today on Let’s talk shop, I speak with Julie Driscoll and Karin Hausmann from Hyve, the organisers of Spring and Autumn Fair. Spring Fair is the UK’s largest home and gift trade show. Julie, Karin and I meet online to hear all about the new Spring and Autumn Fair Online marketplace that is launching on the 4th May. When it launches, Spring and Autumn fair will become an all year around digital marketplace supported by the live events and buyers will be able to register and go through a vetting process to connect and buy from registered brands straight on the platform. We talk about the marketplace, trends in the home and gift industry and what buyers are looking for as well as Autumn Fair. Julie Driscoll, Managing Director UK Retail Julie Driscoll is the Retail and Fashion Managing Director at Hyve Group plc. Uniting key stakeholders behind ambitious omnichannel strategy informed by customer intelligence is how she inspires and empowers organisations. Julie is a board director of the AEO and sits on various other advisory boards and committees including the NEC, the Association of Suppliers to the British Clothing Industry and the Giftware Association and is a judge for various awards. She recently completed an MBA from Imperial College Business School where she was awarded the prestigious scholarship for ‘most inspiring business leader’ with a specialisation in digital business transformation. Karin Hausmann, Digital Marketing Director Karin joined Hyve in 2017 and has held various global senior marketing roles in the business. She is passionate about reaching and connecting communities online and was heavily involved in the company’s pivot to digital in 2020. Karin and her team have been driving the digital marketing agenda and know how to deliver online traffic and engagement to an event or platform. As part of her remit, Karin is now managing the launch of the Spring & Autumn Fair Online Marketplace. If you enjoy the podcast, please leave a review over on Apple podcast as it really helps others discover the podcast too. Connect with Spring and Autumn Fair https://www.springfair.com/ https://www.autumnfair.com/ https://www.instagram.com/springautumnfair/ Online marketplace https://springandautumnfair.eventsunited.net/#/ If you want help with your wholesale please get in touch either on my website, by email or Instagram. Latest courses: https://www.smallbusinesscollaborative.co.uk/courses Connect with me Website: https://www.smallbusinesscollaborative.co.uk/ Instagram: https://www.instagram.com/small_business_collaborative/ Free FB group: https://www.facebook.com/groups/letstalkwholesale Sign-up to my newsletter: https://view.flodesk.com/pages/5df908bbf68c9d00263c9c21
Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ I Still Love You by Arthur Russell on Iowa Dream (Audika) 4′26″ Anyone Who Had a Heart by Dusty Springfield on A Girl Called Dusty (Philips) 7′23″ Only You Know by Dion on Born to Be With You/Streetheart (Phil Spector International) 12′00″ First Boy I Loved by Marian Henderson on Follow the Sun (Anthology Recordings) 18′46″ A Jug of Love by Mighty Baby on A Jug of Love (Blue Horizon) 24′59″ Save the Country by Julie Driscoll, Brian Auger & The Trinity on Streetnoise (Atco) 30′18″ I'd Rather Be The Devil (Devil Got My Woman) by John Martyn on Solid Air (Island) 36′30″ Hanifah by Brother Ah on Key to Nowhere (Divine Records/ Manufactured Recordings) 42′19″ If They Left Us Alone Now by Wool on Wool (Oglio Records) 45′50″ Play With Fire by Twice As Much on Own Up ( Outline Records) 48′11″ Sueño con Serpientes by Silvio Rodriguez on Días y Flores (EGREM) 55′20″ Winter In by Gene Clark on White Light (A&M Records) Check out the full archives on the website.
Join Host Tim Dalton as he chats with Julie Driscoll about her very interesting career. Learn how she makes other companies and their products run more efficiently. Speaking of running, find out how much she enjoys both running and hanging out with her friends and family.
Jetzt ist Zeit für Enthusiasten der späten sechziger / frühen siebziger Jahre, die sich dem Garage und der Psychedelika in all ihren Formen widmen. Pink Floyd, Brian Auger (feat. Julie Driscoll) and The Wimple Winch. ## Beatniks DJs Konrad Hasse and Marc-André Brucker present Psychedelic, Garage and other obscurities. Late-sixties / early-seventies enthusiast dedicated to garage and psychedelia in all of its forms. Resident of Frankfurt's ultimate psychedelic underground club night The UP CLUB. Eine Sendungsübernahme von Radio X aus Frankfurt am Main. *
Jetzt ist Zeit für Enthusiasten der späten sechziger / frühen siebziger Jahre, die sich dem Garage und der Psychedelika in all ihren Formen widmen. Pink Floyd, Brian Auger (feat. Julie Driscoll) and The Wimple Winch. ## Beatniks DJs Konrad Hasse and Marc-André Brucker present Psychedelic, Garage and other obscurities. Late-sixties / early-seventies enthusiast dedicated to garage and psychedelia in all of its forms. Resident of Frankfurt's ultimate psychedelic underground club night The UP CLUB. Eine Sendungsübernahme von Radio X aus Frankfurt am Main. *
1 Man from Wareika Rico 03:19 Man from Wareika 2 08 It's A Groove Mildred Clark & The Kansas City Melody-Aires 02:57 Joined Together (Peacock 1974) 3 Darkest Hour Rev. John Wilkins 02:48 Trouble 4 Get Back Roy Head & The Traits 02:15 Treat Me Right 5 Same People (That You Meet Going Up, You Meet Coming Down) Roy Head 02:26 Same People 6 Treat Her Right Roy Head 02:32 Texas Soul & Country Man:Crazy Cajun Recordings 7 Baby Cakes Maxine Brown 02:31 Unissued Wand Recordings 1963-68 8 Stop Knocking Arthur Conley 02:39 (P-Vine 12'' EP PJ-122) 9 Watch Dog Esther Phillips 02:10 Brand New Day 10 Doggin' Me Around Albert Washington 02:17 Blues & Soul Man 11 I don't lend my man Ann Peebles 02:52 Tellin' it 12 I Need More Than One Lifetime Bo-Keys featuring Percy Wiggins 02:47 Book Of Memories 13 No Brags Just Facts Stacy Lane 02:04 Excello 2302 14 Superpeople The Notations 03:47 Curtom Funk 15 It's Too Late Angie Stone 04:09 Covered in Soul 16 This World is Drunk Raphael Saadiq 04:25 Jimmy Lee 17 Stay Calm Wailing Souls 03:49 Back A Yard 18 that's the way life is Buddy Miles 01:59 A Message To The People 19 one lie (leads to another) Charles Wright & the Watts 103rd Street Rhythm Band 05:19 90 day cycle people 20 For The Love Of Money The O'Jays 04:31 Live On Stage 21 Season Of the Witch BRIAN AUGER and Julie Driscoll 07:59 Auger Rhythms: Brian Auger's Musical History - DISC 1 22 Uptown Top Ranking Dub Colossus 06:02 Addis Through The Looking Glass 23 Tedose Captain Yaba 05:05 A Spear Day 24 Mulato Grupo Fantasma 04:32 Problemas 25 Give Me The Night Hot 8 Brass Band 06:07 Give Me The Night 26 Invisible Baby Charles 04:39 Baby Charles 27 Your Mama Wants Ya Back Betty Davis 03:25 This Is It 28 Drop It On Me Bobby Williams 03:35 R&R 29 Keep On Playin' Breakestra 04:04 Hit The Floor 30 Goin' Places DeRobert & The Half-Truths 02:53 I'm Tryin' 31 (I'd Walk a) Funky Mile The Grits 03:48 Make A Sound 32 IN THE DARK with NICHOLA RICHARDS THE MIGHTY MOCAMBOS 03:12 SHOWDOWN (Mocambo Records MLP 1008) 33 If You Ain't Cheating Brother Tyrone 05:00 Mindbender
1. Pulp ~ Common People 2. ZZ Top ~ La Grange 3. Bettye Lavette ~ Blues For The Weepers 4. Snail Mail ~ Let’s Find An Out 5. Julie Driscoll, Brian Auger & The Trinity ~ This Wheel’s On Fire 6. Dehd ~ Month 7. Kaleo ~ Way Down We Go 8. Phoebe Bridgers ~ Kyoto 9. Elton John ~ Midnight Creeper 10. Chris Matthews ~ Do Not Go Gentle Into That Good Night 11. Swamp Dogg ~ Lonely 12. Bill Bradley-Johnny Guarnieri Band ~ Down The Road Apiece 13. David Bowie ~ Amsterdam 14. Shame ~ Lampoon 15. The Cure ~ Closedown
Programmation Beach Party du 26 juillet 2020 : 1ère heure : (Get your kicks) On route 66 - The ROLLING STONES Twenty flight rock - Eddie COCHRAN What'd I say - Jerry Lee LEWIS In the midnight hour - Wilson PICKETT See saw - Aretha FRANKLIN I can't help myself - The FOUR TOPS Stop ! In the name of love - The SUPREMES Sloop John B - The BEACH BOYS I can't go on (Rosalie) - DION Yakety yak - The COASTERS California dreamin' - Jose FELICIANO Dedicated to the one I love - The MAMAS & THE PAPAS (...) 2ème heure : Sunny - Bobby HEBB Drag city - JAN & DEAN Papa-oom-mow-mow - The RIVINGTONS Chantilly lace - The BIG BOPPER Save me - Julie DRISCOLL & Brian AUGER Twist and shout - The ISLEY BROTHERS Skinnie minnie - Jimmy & The RACKETS Sha la la lee - The SMALL FACES Till the end of the day - The KINKS Heart full of soul - The YARDBIRDS Big boss man - The PRETTY THINGS Baby let me take you home - The ANIMALS (...) Retrouvez la programmation complète sur notre site RTL.fr
Today's program features tuneage from David Bowie, Jayhawks, Beck, Brian Auger w Julie Driscoll, Simon & Garfunkel, Buddy Miles Express, Lee Michaels, T. Rex, Peter Gabriel, Leonard Cohen, Decemberists, Left Banke, Dawes, Blood, Sweat & Tears, Yes, Rolling Stones, Bee Gees, Nilsson, Queen, Alan Price Set, Emerson Lake & Palmer, Crosby Stills & Nash, Snow Patrol, Beatles and Lou Reed.
Esta semana en Islas de Robinson, rock progresivo entre 1970 y 1971. Suenan: CZAR - "FOLLOW ME" ("CZAR", 1970) / CRESSIDA - "THE ONLY EARTHMAN IN TOWN" ("CRESSIDA", 1970) / SUPERTRAMP - "TRY IT AGAIN" ("SUPERTRAMP", 1970) / CULPEPER'S ORCHARD - "ODE TO RESISTANCE" ("CULPEPER'S ORCHARD", 1971) / JUNIPHER GREENE - "FRIENDSHIP-TAKE THE ROAD ACROSS THE BRIDGE" ("FRIENDSHIP", 1971) / MASTER'S APPRENTICES - "OUR FRIEND OWSLEY STANLEY III" ("CHOICE CUTS", 1971) / JETHRO TULL - WIND UP" ("AQUALUNG", 1971) / FAMILY - "SPANISH TIDE" ("FEARLESS", 1971) / LINDA HOYLE - "BLACK CROW" ("PIECES OF ME", 1971) / NORMAN HAINES BAND - "ELAINE" ("DEN OF INIQUITY", 1971) / JULIE DRISCOLL - "CHOICE" ("1969", 1971) / Escuchar audio
Playlist: ..1. It's A Beautiful Day: White Bird..2. Sufjan Stevens: Now That I'm Older..3. Julie Driscoll, Brian Auger andTrinity: Light My Fire..4. Manic Street Preachers: If You Tolerate This Your Childre..5. Rickie Lee Jones: Low Spark Of High Heeled Boys..6. Graham Nash: I Used To Be A King..7. King Creosote and John Hopkins: Bats In The Attic..8. Tom Waits: Martha..9. Otis Taylor: Resurrection Blues..10. Karen Dalton: Ribbon Bow..11. Limp Bizkit: Take A Look Around..12. Serpent Power: Pure White..Chiusura: Mark-Almond: The City
Playlist: ..1. It's A Beautiful Day: White Bird..2. Sufjan Stevens: Now That I'm Older..3. Julie Driscoll, Brian Auger andTrinity: Light My Fire..4. Manic Street Preachers: If You Tolerate This Your Childre..5. Rickie Lee Jones: Low Spark Of High Heeled Boys..6. Graham Nash: I Used To Be A King..7. King Creosote and John Hopkins: Bats In The Attic..8. Tom Waits: Martha..9. Otis Taylor: Resurrection Blues..10. Karen Dalton: Ribbon Bow..11. Limp Bizkit: Take A Look Around..12. Serpent Power: Pure White..Chiusura: Mark-Almond: The City
Playlist: ..1. It's A Beautiful Day: White Bird..2. Sufjan Stevens: Now That I'm Older..3. Julie Driscoll, Brian Auger andTrinity: Light My Fire..4. Manic Street Preachers: If You Tolerate This Your Childre..5. Rickie Lee Jones: Low Spark Of High Heeled Boys..6. Graham Nash: I Used To Be A King..7. King Creosote and John Hopkins: Bats In The Attic..8. Tom Waits: Martha..9. Otis Taylor: Resurrection Blues..10. Karen Dalton: Ribbon Bow..11. Limp Bizkit: Take A Look Around..12. Serpent Power: Pure White..Chiusura: Mark-Almond: The City
Gino Marchitelli, Maggio in Giallo, Francesco Senese, Festival Musica sull'Acqua 2019, Ciaj Rocchi e Matteo Damonte, ELEA 9003, Fabio Licari, Super Eroi Classic, Marvel, Panini Comics, Gazzetta dello sport, Stranglers, Rory Gallagher, Lindstrom and Prins Thomas, Giobia, Brian Auger and Julie Driscoll, John Coltrane, AIR
Gino Marchitelli, Maggio in Giallo, Francesco Senese, Festival Musica sull'Acqua 2019, Ciaj Rocchi e Matteo Damonte, ELEA 9003, Fabio Licari, Super Eroi Classic, Marvel, Panini Comics, Gazzetta dello sport, Stranglers, Rory Gallagher, Lindstrom and Prins Thomas, Giobia, Brian Auger and Julie Driscoll, John Coltrane, AIR
Gino Marchitelli, Maggio in Giallo, Francesco Senese, Festival Musica sull'Acqua 2019, Ciaj Rocchi e Matteo Damonte, ELEA 9003, Fabio Licari, Super Eroi Classic, Marvel, Panini Comics, Gazzetta dello sport, Stranglers, Rory Gallagher, Lindstrom and Prins Thomas, Giobia, Brian Auger and Julie Driscoll, John Coltrane, AIR
40 programas de Jukebox Gumbo. El programa se emite en directo cada lunes a las 19 horas en www.ipopfm.com. Está dirigido y presentado por The Reverend Hotfoot Jackson. Han sonado: 01. The Artesians - Trick Bag 02. The Elite - My Confusion 03. The Fire - Father's Name Is Dad 04. Clear Light - Black Roses 05. Joe South - Hush 06. Julie Driscoll, Brian Auger And The Trinity - Indian Rope Man 07. Freddy Scott & Orchestra - Pow City 08. Al Pinckney & The Exclusives - Coasting 09. Don Gardner - My Baby Likes To Boogaloo 10. Kim Melvin - Doin' The Popcorn 11. James Brown - Talking Loud And Saying Nothing Pt.1 12. Roger & The Gypsies - "Pass The Hatchet" Part 1 13. Jean Knight - Mr. Big Stuff 14. Shirley Ellis - The Clapping Song (Clap Pat Clap Slap) 15. Esquerita - Sarah Lee 16. Harold Burrage - She Knocks Me Out 17. Rudy Moore - Step It Up And Go 18. Hannibal - Please Take A Chance On Me 19. Bobby Charles - Teenagers 20. Ernest Tucker - Cowboy Hop 21. Bob Luman - Buttercup 22. Bobby Curtola - Hitchhiker 23. Hayden Thompson - Watcha Gonna Do
40 programas de Jukebox Gumbo. El programa se emite en directo cada lunes a las 19 horas en www.ipopfm.com. Está dirigido y presentado por The Reverend Hotfoot Jackson. Han sonado: 01. The Artesians - Trick Bag 02. The Elite - My Confusion 03. The Fire - Father's Name Is Dad 04. Clear Light - Black Roses 05. Joe South - Hush 06. Julie Driscoll, Brian Auger And The Trinity - Indian Rope Man 07. Freddy Scott & Orchestra - Pow City 08. Al Pinckney & The Exclusives - Coasting 09. Don Gardner - My Baby Likes To Boogaloo 10. Kim Melvin - Doin' The Popcorn 11. James Brown - Talking Loud And Saying Nothing Pt.1 12. Roger & The Gypsies - "Pass The Hatchet" Part 1 13. Jean Knight - Mr. Big Stuff 14. Shirley Ellis - The Clapping Song (Clap Pat Clap Slap) 15. Esquerita - Sarah Lee 16. Harold Burrage - She Knocks Me Out 17. Rudy Moore - Step It Up And Go 18. Hannibal - Please Take A Chance On Me 19. Bobby Charles - Teenagers 20. Ernest Tucker - Cowboy Hop 21. Bob Luman - Buttercup 22. Bobby Curtola - Hitchhiker 23. Hayden Thompson - Watcha Gonna Do
a cura di Alessandro Achilli. Musiche di Melody Four, Laura Cole, Aby Vulliamy, Paula Rae Gibson & Kit Downes, Gold Mass, Julie Driscoll & Brian Auger & The Trinity, Artchipel Orchestra + Keith & Julie Tippetts, Orchestra da Tre Soldi (seconda parte)
a cura di Alessandro Achilli. Musiche di Melody Four, Laura Cole, Aby Vulliamy, Paula Rae Gibson & Kit Downes, Gold Mass, Julie Driscoll & Brian Auger & The Trinity, Artchipel Orchestra + Keith & Julie Tippetts, Orchestra da Tre Soldi (seconda parte)
a cura di Alessandro Achilli. Musiche di Julie Driscoll, Brian Auger & The Trinity; Mamma Non Piangere; Homunculus Res; Irid
a cura di Alessandro Achilli. Musiche di Julie Driscoll, Brian Auger & The Trinity; Mamma Non Piangere; Homunculus Res; Irid (prima parte)
a cura di Alessandro Achilli. Musiche di Julie Driscoll, Brian Auger & The Trinity; Mamma Non Piangere; Homunculus Res; Irid (prima parte)
Stripping Mod back down to the brass tacks Mod Marty takes you through a trip into Jazz, the roots of Modernism. From the smooth and cool to the brisk and stinging this hour shows Mod Jazz at it's simplest all the way to Jazz's influence on soul and Maximum R n'B and soul's influence in kind. This is a vital addition to your On Target collection. Please like the Facebook page here: https://www.facebook.com/ontargetpodcast/ Don't forget to come to Montreal for the MODtreal weekender, go here for info: http://tinyurl.com/MODtreal2017 ------------------------------------------------- The Playlist Is: "A Young Man" Mose Allison - Prestige "Israel" Miles Davis - Capitol "One Mint Julip" Ray Charles - Sparton "For Mods Only" Chico Hamilton - Impulse "Side Man" Lonnie Smith - CBS "Carla's Dance" Shirley Scott - Cadet "Seventh Son" Johnny Rivers - Imperial "In The Meantime" Georgie Fame & The Blue Flames - Columbia "Blues In F" The Spencer Davis Group - Stone "Uptight (Everything Is Alright)" Jackie Wilson with Count Basie - Brunswick "Get Ready" Ella Fitzgerald - Reprise "Light My Fire" Erma Franklin - Brunswick "Ain't That Peculiar" George Benson Quartet - CBS "Comin' Home Baby" Kai Wingding - Verve "The Point" Mac Rebennack & The Soul Orchestra - A.F.O. "In and Out" Brian Auger, Julie Driscoll & The Trinity - Columbia "Honey Child" Bobby Bland - Duke "The Cat" Jimmy Smith - Verve
Seven 7 inch Records Every Seven Days 777 Episode 12 "B-Girl Sunshine" A Dedication to B-Girls and B-Boys Worldwide. Keep Shining! 1. Central Line - "Walking Into Sunshine"/J-Rocc - "Jingles (Edit)" 2. Rockers Revenge Featuring Donnie Calvin – "Walking On Sunshine" 3. Medline – "Everybody Loves The Sunshine" 4. Yellow Sunshine – "Yellow Sunshine" 5. Spanky Wilson - "Sunshine Of Your Love" 6. The Electric Hair - "Let The Sunshine In (The Flesh Failures)" 7. Brian Auger, Julie Driscoll & The Trinity – "Let The Sunshine In"
Om 22:00 uur niemand minder dan Mart Smeets met twee uur lang OLM op 40UP Radio. Vanavond muziek van Gregg Allman, Mr. Big, Julie Driscoll, The Cars, Marvin Gaye, Joan Armatrading, The Dave Clark Five en Warren Zevon.
Om 22:00 uur niemand minder dan Mart Smeets met twee uur lang OLM op 40UP Radio. Vanavond muziek van Gregg Allman, Mr. Big, Julie Driscoll, The Cars, Marvin Gaye, Joan Armatrading, The Dave Clark Five en Warren Zevon.
Om 21:00 uur weer een uurtje Stormy met Felix Rottenberg. Een uitzending waarin Felix’ grootvader als rode draad door het programma loopt. Muziek van Leon Russell, Ariel Ramirez, George Michael, Julie Driscoll, Liza Minnelli, Gino Vannelli en Tom Jones.
Welcome to Live From Progzilla Towers Edition 123. In this special psychedelic edition, co-hosted by Robin Smith, we heard music by The Nice, The Moody Blues, Simon Dupree & The Big Sound, The Beatles, The Jimi Hendrix Experience, The Who, The Smoke, The Zombies, Unit 4 Plus 2, The Fortunes, The Move, Cat Stevens, The Syn, Pink Floyd, The Hollies, Strawberry Alarm Clock, The Fifth Dimension, Simon & Garfunkel, Procol Harum, The Yardbirds, Cream, Julie Driscoll, Traffic, The Locomotive, Barry Mcguire, Steve Flynn, Status Quo, Love, Donovan, Lemon Pipers, Deep Purple, Jefferson Airplane, The Association, The Electric Prunes & Transatlantic.
Da David Bowie a Julie Driscoll & Brian Auger
Babe in Arms by Dian McPherson Suspiria (Narration) by Goblin Nibelungen by Nico Giving It To You by Grouper Bird of Prey by Jad Fair and Kramer This Is My Name by Sun City Girls Reeling the Liars In by Swans The Shoe Salesman by The Residents Your Hidden Dreams by White Noise Falling by Angelo Badalamenti and Julee Cruise Wicked Game by Coves Baby's on Fire by Absolute Body Control The Spangle Maker by Cocteau Twins Morning Dew by Einsturzende Neubauten Season of the Witch by Julie Driscoll
Julie Driscoll e Brian Auger, l'album Streetnoise.
Julie Driscoll e Brian Auger:gli inizi.
Pianist Keith Tippett is a musician of extraordinary breadth and vision. His projects range from the vast 50-piece orchestra Centipede - so large it had its own private plane for touring - to introspective improvised solo concerts. He joins Alyn Shipton to pick the highlights of a recorded catalogue that spans over forty years, and which not only contains his ensembles large and small, but several surprises as well. Keith Tippett is one of Britain's most inventive musicians, although nowadays he something of a prophet without honour in his own land, celebrated in Europe, but performing infrequently at home. This edition of Jazz Library demonstrates just what local audiences have been missing, in a fascinating spread of music in which Tippett handles sprawling big bands with the same sureness of touch as he applies to his own piano playing. The programme includes his large groups Tapestry, Ark and Centipede, his current band Mujician, the celebratory Dedication Orchestra which commemorates the cream of South African jazz players, and Keith's long musical partnership with his wife, Julie Tippetts, who was formerly known as the pop singer Julie Driscoll, with her top ten hit for Brian Auger "Wheels on Fire".
"Twenty-Five Miles" - Edwin Starr "Dancing Drums" - Ananda Shankar "Koto Mata" - Tali Bong "Indian Rope Man" - Brian Auger, Julie Driscoll & The Trinity "Somebody To Love" - Kalyanji Anandji "I'm Gonna Make You Love Me" - Jim Ford "Cynthy-Ruth" - Black Merda "Mary, Don't Take Me On No Bad Trip" - Fugi "Funkier Than A Mosquito's Tweeter" - Nina Simone "Un soir chez Norris" - Pierre Cavalli "Hey, Hey" - Gershon Kingsley "Svolta Definitiva" - Ennio Morricone "Living In The Ghetto" - Purple Image "They Say I'm Different" - Betty Davis "Where's Your Love Been" - Sandra Rhodes
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