Podcast appearances and mentions of Keith Olsen

On the 63rd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, the co-host of the Growin' Up Rock Podcast, Steven Michael, review the self-titled 1987 breakthrough album from Whitesnake. Whitesnake was a veteran British blues hard rock band with limited success in the United States. By 1987, David Coverdale wanted to change the band's style and image to a more Americanized version. He started with the music. The album is considered Whitesnake's "hair Metal" phase. The band was always a double guitar band, but this time, guitarist extraordinaire, John Sykes would contribute all the guitars and assist in the lyrics. Long time bassist, Neil Murray was on board as was top notch drummer, Aynsley Dunbar. Finalizing this lineup is Shout It Out Loudcast's favorite, Don Airey. After the music was completed, Coverdale proceeded to fire all the band members and hired an all star lineup to tour and more importantly appear in the MTV videos, including, Vivian Campbell, Adrian Vandenberg, Rudy Sarzo and Tommy Aldrich. But, more importantly he added his then fiancée, Tawny Kitaen to their videos and the band and the album exploded. Songs like "Here I Go Again" and "Is This Love" made it to Number 1 and 2 on radio respectively. The videos were all over MTV. The album was produced by Mike Stone and Keith Olsen. The album made it to Number 2 on the Billboard Charts and went 8X Platinum. The success of the band is credited to Coverdale's amazing vocals and frontman capabilities and John Sykes legendary melodic guitar work. However, the videos and Tawny Kitaen's impact cannot be overstated. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous albums reviewed on the Album Review Crew. This was the Patreon pick. Please make sure you join! So grab your bad boys and go wild in the streets with this one! Ow, ow, ow, ow! To Purchase Whitesnake's Self-Titled Album On Amazon Click Below:   "Whitesnake"   To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   Raise Your Glasses Book   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

On the 63rd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, the co-host of the Growin' Up Rock Podcast, Steven Michael, review the self-titled 1987 breakthrough album from Whitesnake. Whitesnake was a veteran British blues hard rock band with limited success in the United States. By 1987, David Coverdale wanted to change the band's style and image to a more Americanized version. He started with the music. The album is considered Whitesnake's "hair Metal" phase. The band was always a double guitar band, but this time, guitarist extraordinaire, John Sykes would contribute all the guitars and assist in the lyrics. Long time bassist, Neil Murray was on board as was top notch drummer, Aynsley Dunbar. Finalizing this lineup is Shout It Out Loudcast's favorite, Don Airey. After the music was completed, Coverdale proceeded to fire all the band members and hired an all star lineup to tour and more importantly appear in the MTV videos, including, Vivian Campbell, Adrian Vandenberg, Rudy Sarzo and Tommy Aldrich. But, more importantly he added his then fiancée, Tawny Kitaen to their videos and the band and the album exploded. Songs like "Here I Go Again" and "Is This Love" made it to Number 1 and 2 on radio respectively. The videos were all over MTV. The album was produced by Mike Stone and Keith Olsen. The album made it to Number 2 on the Billboard Charts and went 8X Platinum. The success of the band is credited to Coverdale's amazing vocals and frontman capabilities and John Sykes legendary melodic guitar work. However, the videos and Tawny Kitaen's impact cannot be overstated. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous albums reviewed on the Album Review Crew. This was the Patreon pick. Please make sure you join! So grab your bad boys and go wild in the streets with this one! Ow, ow, ow, ow! To Purchase Whitesnake's Self-Titled Album On Amazon Click Below:   "Whitesnake"   To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   Raise Your Glasses Book   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

I am extremely excited that I have an interview with a true keyboard legend for you today: MARK STANWAY has played for British Rock Band MAGNUM from 1980 to 2016 and has seen it all: Working with star producers like Keith Olsen, Queen's Roger Taylor and Jeff Glixman, world tours with giant stage sets (including the feeling of being pulled up with your keyboard setup like 15 feet in the air), seeing the technology evolve from the times of the Mellotron up to the rise of modern Sampling technology.MARK STANWAY has also worked with Phil Lynott, forming "Grand Slam", has worked with Robert Plant in the "Honeydrippers" and has been in the Lineup of bands like "Stampede" and "M3 Classic Whitesnake". Together with former Magnum members and friends Mark Stanway now plays with his own outfit "Kingdom Of Madness".But his years in Magnum, playing on groundbreaking records like "Chase The Dragon", "On A Storyteller's Night", "Wings of Heaven" and "Goodnight L.A.", which all have been international mega sellers, are probably the defining part of his almost 50 year career as a pro musician.I am extremely honored and proud to be able to bring you this interview with one of the groundbreaking idols of Rock keyboard playing - a true time travel (with Synthesizers!).

En 2018, la ville du Cap a vécu son « day zero », les robinets étaient presque à sec. Depuis, la gestion de l'or bleu a été complètement repensée, avec des investissements massifs. Près de la moitié du budget municipal pour les infrastructures est dédiée à cette gestion de l'eau. À Zandvliet, au sud de la ville, une station d'épuration a été entièrement rénovée pour un coût de 100 millions d'euros. Et l'objectif, à terme, est de rendre potables les eaux usées.  De notre envoyé spécial, de retour du Cap,Le bâtiment principal est tout neuf, des murs blancs avec de grandes vitres donnent sur les machines. « La sécheresse nous a frappés entre 2015 et 2018, se souvient Christopher Norman, ingénieur de la station. Lors du “Day zero”, nous étions proches d'avoir les robinets à sec. La ville n'était absolument pas prête. Maintenant, nous avons ce nouveau programme de gestion de l'eau, qui comprend : la réutilisation, le dessalement et l'eau souterraine. Mais nous devons aussi faire face à des années de sous-investissements, surtout dans le domaine des eaux usées. C'est pourquoi nous avons maintenant des modèles de financement alternatifs, avec des partenariats public-privé par exemple. »À écouter dans Grand reportageLe Cap face à la crise de l'eauVingt étapesUne politique de mise aux normes et d'amélioration est lancée, comme à Zandvliet, site entièrement rénové l'année dernière, pour un coût total de 100 millions d'euros. « C'est là que les eaux usées arrivent de différents quartiers, précise Christopher Norman. Elles sont pleines de toutes sortes de déchets et d'objets, beaucoup de vêtements et de bouts de tissus. » « Ici, les débris entrent, poursuit son collègue Keith Olsen. Ces pâles en métal les attrapent à intervalles réguliers et les font remonter pour les retirer de l'eau ».L'eau continue son parcours aux quatre coins de la station, une vingtaine d'étapes en tout. Le filtrage est de plus en plus fin et chaque machine est différente, jusqu'à l'introduction de procédés chimiques ou biologiques. « Une partie de l'équipement très coûteux comprend ces souffleurs, explique Christopher Norman. L'eau est marron parce que nous injectons des particules actives sous pression, remplies d'organismes et de bactéries, pour traiter l'eau. »À écouter dans Grand reportageFace au changement climatique, Le Cap peut-il montrer la voie?10 % de l'eau potable en 2040Vient l'étape finale : les membranes, une installation coûteuse, mais innovante. « Les membranes ressemblent à des spaghettis, montre Christopher Norman. Elles trempent dans l'eau ; le liquide s'y infiltre, remonte le long de ces spaghettis, laissant tous les derniers minuscules éléments solides derrière lui. Avant, l'eau était marron, vous vous souvenez ? Regardez, maintenant qu'elle a traversé les membranes, elle est claire comme le cristal, on dirait de l'eau potable. Il reste seulement quelques particules mauvaises pour la santé. C'est pourquoi nous allons bientôt ajouter un bâtiment de traitement avancé, d'une valeur de 3,5 milliards de rands, pour vraiment purifier cette eau. »L'objectif, à terme, est que cette eau coule dans les robinets. La ville du Cap prévoit que d'ici à 2040, cette eau réutilisée représentera près de 10 % de l'eau potable.À lire aussiL'accès à l'eau potable pour tous en Afrique: des entreprises françaises tentent d'y remédier 

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"Grateful Dead's Notable Tracks from 1977 plus a cure for Female Orgasmic Disorder"Larry Mishkin covers the Grateful Dead show from March 18th, 1977, at the Winterland arena in San Francisco, showcasing notable performances of songs like "Sugaree" and "Peggy-O." He delves into the history and significance of these songs within the Grateful Dead repertoire. Additionally, the discussion extends to the cannabis industry, highlighting the financial strategies of marijuana companies to minimize tax obligations under Section 280E of the IRS Code. He also touches on the opening of Nevada's first legal marijuana consumption lounge, signaling a shift in cannabis regulations in the state. Finally, Larry addresses the proposal to add Female Orgasmic Disorder (FOD) as a qualifying condition for medical marijuana use in Illinois, reflecting evolving perspectives on cannabis as a therapeutic option for various health conditions. Grateful DeadMarch 18, 1977 (47 years ago)Winterland, S.F.Grateful Dead Live at Winterland Arena on 1977-03-18 : Free Borrow & Streaming : Internet Archive TITLE:  1977 Winterland:  The Dead Bust Out Fire On The Mountain and Take Their One and Only Attempt At Terrapin Flyer. Just a month after the Swing Auditorium show that we previewed a few weeks ago, Dead went home to Winterland for a string of shows.  This one stands out for a few reasons that we will get to as the show goes on. INTRO:                 Sugaree                                Track #4                                7:25 – 9:05               "Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia.[1] It was written for Jerry Garcia's first solo album Garcia, which was released on January 20, 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker. Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart.Elizabeth Cotten, a North Carolinafolksinger, wrote and recorded a song called "Shake Sugaree" in 1966.[3] The chorus of Cotten's song is "Oh lordie me/Didn't I shake sugaree?" Hunter was aware of this song when he wrote "Sugaree."The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University, as was the song "Mr. Charlie".  The Dead played it 362 times in concert.  Last played on July 8, 1995 at Soldier Field in Chicago.                 A classic rocking Dead tune, usually a first set number, I've seen it as a show opener, first set closer, and encore.  In this clip they really rock it but it's only a small peak at this 15 minute version of the tune.  Well worth pulling it down on Archive and checking out the entire number.  You won't be sorry.  SHOW No. 1:    Peggy-O                                Track #6                                4:20 – 6:00                          Traditional, credit for the Grateful Dead version generally go to Jerry but some say Bill had a hand in writing it.              This song derives from the earlier Scottish traditional song Bonnie Lass of Fyvie-o. Fyvie is thought to have been a staging post between Aberdeen and Fort George in Scotland. This song does occur with a number of title variations. It is possible that Fennario is a corruption of Fyvie-o.Similar traditional songs also occurred in the UK; Handsome Polly O and Bonny Barbara O, though these are less similar to the modern Peggy-O song.The title Peggy-O is used on Grateful Dead recordings. The version of Peggy-O that is included in the Jerry Garcia box set All Good Things is a previously unreleased studio recordings from Spring 1979 and is given the title Fennario. The Fennario title is also used on concert recordings of The Dead and Phil Lesh & Friends.Although not released on a Dead studio album, the song was included on the remastered recordings of both Terrapin Station and Go To Heaven.The Grateful Dead first performed Peggy-O in December 10, 1973 at the Charlotte Coliseum in N.C.. It was then played in every year through to 1995 usually no more than a dozen times each year though it was played more regularly during the 1977 to 1981 period. Played a total of 265 times. The last performance was on July 5, 1995 at the Riverport Amphitheatre in Maryland Heights, MO (just outside of St. Louis).In this clip, I really enjoy Jerry's strong voice, the solid jamming and some stealth piano contributions from Keith. SHOW No. 2:    Fire On The Mountain                                Track # 9                                1:46 – 3:30                 Hunter/Hart (not Jerry!)                 Released on Shakedown Street on November 8, 1978, last song on first side of album.                 First time ever played – one of the reasons I chose this show over a number of other great shows on this date – others include a smokin “early” Dead show in 1967 at Winterland and 1971 at the Fox Theater in St. Louis coming fast on the heels of the Dead's epic six night Capitol Theater run in Port Chester in late February. This is another of those songs with a long and complicated genesis story, perhaps not worth getting into too much detail about here, but the rough outlines at least are important to note. The lyrics, according to Robert Hunter in Box of Rain, were “Written at Mickey Hart's ranch in heated inspiration as the surrounding hills blazed and the fire approached the recording studio where we were working.”Hart, credited with the music for the song, recorded a proto-rap version of the song for an unreleased album entitled Area Code 415, recorded in 1972 and 1973. It was also included on a Mickey Hart album entitled Fire on the Mountain, recorded in 1973-74. It appeared as an instrumental entitled “Happiness is Drumming” on Hart's 1976 studio album, Diga. And it finally began showing up in the Grateful Dead repertoire, sung by Jerry Garcia, in 1977, undergoing a number of variants of the lyrics until it settled into the form that was eventually recorded and released on Shakedown Street, in November 1978. There's a lot of other detail I haven't mentioned—possibly worthy of some historian taking it apart piece by piece, but you get the rough idea.On March 18, 1977 at Winterland Arena, San Francisco. "Fire" appeared for the first time, closing the first set, following its eternal partner, "Scarlet Begonias." This combination of tunes, which frequently enclosed some wonderful jamming, came to be known as "Scarlet Fire." There were a handful of occasions on which “Fire” appeared without “Scarlet Begonias,” but not many. approx 15 out of the total 253 performances. It remained steadily in the repertoire from then on, and was played for the final time on July 2, 1995, at the Deer Creek Music Center in Noblesville, Indiana.This clip being the song's first live performance and almost a year and half before it's commercial release, there are noticeable differences between this version and the one we al know and love.  But they go there very quickly as only two months later on May 8, 1977 the Dead played the Barton Hall show that many declare to be the best Dead show ever.  While that may or may not be true, what is true is that the version of Scarlet Fire is awesome and certainly befitting a show many do consider to be the finest Dead show of them all.Many more were to follow and the lucky ones who were in Winterland this night got to witness how it all started.   SHOW No. 3:    Terrapin Flyer                                                              Alhambra                                Track # 17                                :53 – end                                 INTO                                 Drums                                Track # 18                                Start – 0:44                 This is another reason I chose this show for today's episode.  This represents the only known instance of the Dead playing the Terrapin Flyer part of the full Terrapin Suite from the Album (released on July 27, 1977) out of the traditional parts.  Although Jerry does not sing the lyrics from this part of the suite, he jams the very distinctive melody.  Interestingly, this is only a few weeks after the debut of Terrapin at the Swing Auditorium on Feb. 26, 1977.  Here, the Dead were trying out this sixth of seven parts of the suite and for whatever reason did not like what they heard or didn't enjoy playing it or, more likely, practicing it, so it was dropped from live performances even though the primary and opening parts of the suite, Lady with a Fan into Terrapin Station, were played a total of 303 times.                 These are the fun little discoveries that even after 40+ years of listening to, following and learning about the band keep it fun, interesting and amazing.                 As for the recording of the entire suite, Keith Olsen was chosen to produce and the band temporarily moved to Los Angeles, as Olsen preferred to work at Sound City, where he had recently achieved success producing Fleetwood Mac's 1975 comeback album.             Olsen had a method for reining in the Dead: "During the cutting of the basic tracks it was pretty hard to get every member of the band in the studio at the same time ... so [Steve] Parish went out to the hardware store and got these giant nails and a great big hammer and as soon as everybody was in, he hammered the door shut from the inside ... we didn't have drifters from the other studios coming in to listen. We didn't have people leaving to go screw around elsewhere. We started getting work done."[18] With Fleetwood Mac, Olsen had a hands-on approach, orchestrating the addition of Lindsey Buckingham and Stevie Nicks and influencing song choice, arrangements and sequencing. He entered the Grateful Dead project with similar expectations, imagining a concept album or song cycle. Olsen said that Davis told him "I need a commercial record out of them."[18] This caused some friction during the sessions as well as with the end results. Kreutzmann said "He'd have us play the same thing over and over again, and we're not really the type of band that can put up with that. ... Our very identity is based on the opposite principle."[                 SHOW No. 4:   Not Fade Away                                Track # 19                                14:00 – 15:40                 Written by Buddy Holly and Norman Petty.  Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, and it was released as a single (B side to “Oh Boy”) on October 27, 1957 on the Brunswick label.  The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa. Jerry Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin played the double bass on this recording. It is likely that the backing vocalists were Holly, Allison, and Niki Sullivan, but this is not known for certain.             First played by the Dead on February 19, 1969 at the Fillmore West in S.F., it was played by the band a total of 561 times and last played on July 5, 1995 at the Riverport Amphitheatre outside of St. Louis.             This is an absolutely ripping version of this tune so much so that I featured only the jam – everyone knows the lyrics, but the jam in this 20 minute version is better than any singing I could have featured. OUTRO:               Around and Around                                Track 21                                4:59 – 6:46                 Very appropriate to end on a Chuck Berry tune given that today is the seventh anniversary of Chuck's death in 2017 at the age of 90.                 "Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".  Release on March 31, 1958 on Chicago's own Chess Records checking in at a brisk 2:20. Many bands have covered the song including, most famously, the Rolling Stones and David Bowie, and, of course the Dead who played it 418 times, first on November 8, 1970 at the Capitol Theater in Port Chester, NY and lastly on July 6, 1995 at the Riverport Amphitheatre outside of St. Louis – very appropriate since Chuck was born in St. Louis and died in Wentzville, just outside of the city. This is one of the better version of the tune that I have heard.  It checks in at over 8 minutes and the boys just jam it out, throw in a few false endings and finally wrap it up, followed only by Uncle John's Band before the boys say goodnight to the Winterland crazies and head home for a rare post show night in their own beds. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

EP 587 Featuring Bassist and Producer Jeff Pilson

EP 587 Featuring Bassist and Producer Jeff Pilson

Beau Hill is a music producer best known for his work with Ratt, Alice Cooper, Warrant, Winger, Europe and Kix.  In this episode we discuss a variety of things throughout his career and his life.  He tells stories of working with music legends like Stevie Nicks, Bob Dylan and Eric Clapton. We also discuss his thoughts on Poison's CC Deville doing the solo on Cherry Pie, the music business, and his path to success. A must listen to episode for music fans! 0:00:00 - Intro0:00:13 - Golf 0:03:00 - Traveling to Antartica 0:06:00 - Beau's Journey 0:08:35 - Jon Keyworth, Denver Broncos 0:09:45 - Production Techniques 0:12:42 - Keith Olsen & Stevie Nicks 0:17:45 - Beau's Band Airborne 0:23:13 - Audition for Foreigner & Spider 0:26:02 - Co-Producing Demos with Sandy Stewart 0:32:05 - Call to Produce Ratt 0:34:40 - Working with Stevie Nicks 0:39:26 - Working with Ratt 0:47:00 - Alice Cooper & Michael Wagener 0:48:24 - Producer Sam Taylor 0:51:15 - Bob Dylan, Eric Clapton & Ron Wood 0:59:30 - Warrant's Cherry Pie & Don Ienner 1:02:30 - CC Deville's Solo on Cherry Pie 1:08:10 - Jani Lane 1:13:07 - Producing, Remixing & Arranging 1:20:20 - Uncle Tom's Cabin 1:22:35 - Job at Interscope 1:27:25 - Black Bambi & Unruly Child 1:31:30 - Elements of a Hit Record 1:33:19 - Oliver Anthony 1:35:55 - Social Media & Connections 1:40:03 - Drinks & Big Parties 1:43:50 - Tunnel to Towers 1:44:50 - Working with New Bands 1:46:30 - Outro Beau Hill Productions website:https://beauhillproductions.com/Tunnels to Towers website:https://t2t.org/Chuck Shute website:https://chuckshute.com/Support the showThanks for Listening & Shute for the Moon!

The Millennium, Michael Fennelly, Joey Stec, Curt Boettcher, Keith Olsen, and you.

Charlie FARREN burst onto the national scene in the early 80's as lead singer of THE JOE PERRY PROJECT, teaming up with Aerosmith lead guitarist Joe Perry and releasing an acclaimed album on Columbia Records. Farren penned the Billboard charting classics “Listen To The Rock” and “East Coast, West Coast”, also co-writing four songs with Perry including the hit “I've Got The Rock ‘N' Rolls Again”.The Joe Perry Project sold out theaters across the country and toured arena's & stadium's around the world with artists such as Ozzy Osbourne, Rush, Heart,  ZZ Top, and Alice Cooper.FARREN subsequently formed FARRENHEIT, a trio releasing a self-titled debut album on Warner Brothers, produced by Keith Olsen. Three singles from that album, “Fool in Love”, “Bad Habit”, & “Lost in Loveland”, as well as video exposure on MTV, established FARRENHEIT as one of the era's premier rock acts. Highlights for FARRENHEIT included the coveted opening slot on the 75+ date BOSTON ‘Third Stage Tour', sold out from coast to coast, including a performance at the ‘Texxas Jam' to a sold out crowd of 85,000 people at the Cotton Bowl in Dallas, TX.More recently, Charlie has been touring North America as ‘America's Special Guest' with Three Dog Night, REO Speedwagon, Cheap Trick, and many others. This Summer he's performed as a Special Guest with ZZ Topp, Joe Perry, Max Weinberg, Three Dog Night, Average White Band, Elliot Easton and others. His latest project, CHARLIE FARREN: GUITAR & VOICE has been rolling out with regular releases of compelling new original music that has been resonating with audiences across the United States.Charlie continues to be one of America's most original and compelling musical artists. He takes the stage alone, and leaves with a roomful of new believers.https://charliefarren.com/

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Paul Bruce Dickinson (Worksop, Nottinghamshire, 7 de agosto de 1958), más conocido como Bruce Dickinson, es un cantante, productor musical, esgrimista, empresario, escritor, historiador y piloto de aviación británico. Es famoso por ser el vocalista, frontman y co-compositor de la banda de heavy metal Iron Maiden. Es considerado por muchos expertos de canto, medios y el público en general como uno de los mejores cantantes de la historia de este género. También posee un nivel intermedio de interpretación en guitarra, mostrado principalmente en su carrera en solitario. Nacido en Worksop, Nottinghamshire, Bruce Dickinson comenzó su carrera musical en pequeñas bandas en la década de 1970, mientras asistía a la escuela en Sheffield y a la universidad en Londres. En 1979 se unió a la agrupación Samson, con la que logró cierta popularidad bajo el nombre artístico de "Bruce Bruce". Tras grabar dos discos de estudio dejó la banda en 1981 para unirse a Iron Maiden, reemplazando al cantante Paul Di'Anno. Durante su primera etapa en Iron Maiden grabó una serie de exitosos álbumes que se convirtieron en discos de platino y oro en los Estados Unidos y el Reino Unido en la década de 1980. Dickinson abandonó Iron Maiden en 1993 (siendo reemplazado por Blaze Bayley) para seguir una carrera como solista, lo que le permitió experimentar con una amplia variedad de estilos entre el heavy metal y el hard rock. Se reincorporó a la banda en 1999 junto con el guitarrista Adrian Smith. Tras su regreso a Iron Maiden grabó un nuevo disco en solitario en 2005, Tyranny of Souls. Su primo Rob Dickinson fue el vocalista de la banda británica de rock alternativo Catherine Wheel, mientras que su hijo, Austin, lideró la banda de metalcore Rise to Remain. Aparte de su carrera en la música, Dickinson ha llevado a cabo otro tipo de actividades. Emprendió una carrera como piloto comercial para la aerolínea Astraeus Airlines. Tras el cierre de Astraeus, creó su propia empresa de mantenimiento de aviones y capacitación de pilotos en 2012, Cardiff Aviation. Dickinson presentó su propio programa de radio en la emisora BBC Radio 6 Music de 2002 a 2010 y también ha presentado documentales de televisión, ha escrito novelas y guiones cinematográficos, creó una exitosa cerveza con Robinsons Brewery y compitió como esgrimista a nivel internacional. Paul Bruce Dickinson nació en Worksop, Nottinghamshire.​ Su madre, Sonia, trabajaba a medio tiempo en una fábrica de calzado, y su padre, Bruce (f.2018), era un mecánico del ejército.​ El inesperado embarazo de Sonia obligó a la joven pareja a contraer matrimonio.​ Inicialmente fue criado por sus abuelos, un trabajador de una mina de carbón local y un ama de casa.​ Este hecho es recordado por Dickinson en la letra de la canción "Born in '58" de su primer álbum como solista, Tattooed Millionaire.​ Estudió en la escuela primaria de Manton en Worksop mientras sus padres vivían en Sheffield.​ Cuando cumplió seis años fue enviado a Sheffield por sus abuelos,​ lugar donde ingresó en una escuela primaria en Manor.​ Luego de unos meses, sus padres decidieron inscribirlo en una escuela privada llamada Sharrow Vale Junior.​ Dickinson ha afirmado que debido a esta situación aprendió a ser autosuficiente, pero no pudo entablar amistades duraderas.​ Bruce tiene una hermana menor, la jinete profesional Helena Stormanns, nacida en 1963.​ Trató de aislarse de ella tanto como pudo cuando era joven, al parecer porque presumía que el nacimiento de Helena si fue planeado.​ La primera experiencia de Bruce con la música ocurrió en Worksop, cuando bailaba para sus abuelos la canción "The Twist" de Chubby Checker.​ Su primer álbum fue el sencillo "She Loves You" de The Beatles, un regalo de su abuelo. Desde ese momento empezó a interesarse en la música rock.​ Intentó tocar la guitarra acústica de su padre, pero sus dedos terminaron ampollados.​ Cuando se mudaron a Sheffield, los padres de Dickinson se ganaban la vida comprando propiedades, acondicionándolas y vendiéndolas para obtener un beneficio.​ Como resultado, gran parte de su infancia la pasó viviendo en un sitio de construcción, hasta que sus padres compraron una pensión y un garaje en bancarrota donde su padre comenzó a vender autos de segunda mano.​ Los ingresos de su negocio le dieron la oportunidad de darle a Bruce (entonces de 13 años) una educación en un internado en la escuela Oundle, una institución pública en Northamptonshire.​ Dickinson no se oponía a mudarse de su hogar porque no había logrado "ningún vínculo real" con sus padres, ya que había sido criado por sus abuelos en Worksop hasta que cumplió los seis años.​ En Oundle, Dickinson era acosado constantemente por los niños mayores de Sidney House, la pensión a la que pertenecía,​ hecho que describió como "una tortura sistemática" que lo llevó a convertirse en un niño prácticamente aislado.​ Sus intereses en Oundle solían ser militares; fue cofundador de la sociedad de juegos de guerra de la escuela con su compañero Mike Jordan, logrando una posición de cierto poder en la fuerza de cadetes de la escuela,​ donde se le permitió manejar munición real, que utilizaba para crear trampas explosivas.​ En Oundle Dickinson empezó a interesarse en el hard rock, especialmente tras escuchar la épica canción "Child in Time" de Deep Purple en el cuarto de uno de sus compañeros, quedando asombrado por la potencia vocal de Ian Gillan.​ El primer álbum que compró con su propio dinero fue Deep Purple In Rock, disco que terminó de afianzar su gusto por este tipo de música.​ Más adelante compró el álbum debut de Black Sabbath, Aqualung de Jethro Tull y Tarkus de Emerson, Lake & Palmer.​ La primera banda que pudo ver en directo fue Wild Turkey, agrupación que tocó en su escuela y que tenía entre sus filas al bajista de Jethro Tull, Glenn Cornick.​ Más tarde asistió a conciertos de Van der Graaf Generator y Arthur Brown.​ Bruce se interesó inicialmente en aprender a tocar la batería,​ practicando con un par de bongós.​ El músico recuerda que tocaba y cantaba la canción "Let It Be" con su amigo Mike Jordan, descubriendo que tenía una voz prometedora para cantar música rock.​ Poco tiempo después fue expulsado de Oundle por participar en una broma en la que orinó sobre la cena del director de la institución.​ Tras retornar a su hogar en Sheffield en 1976, ingresó en la escuela King Edward VII, lugar donde se unió a su primera banda.​ Escuchó a otros dos alumnos hablar sobre la necesidad de un cantante para su banda, por lo que se ofreció como voluntario de inmediato.​ La banda practicaba en el garaje del padre del baterista. Allí sus compañeros se asombraron por su calidad vocal, animándolo para que comprara un micrófono.​ Su primera presentación ocurrió en una pequeña taberna en Sheffield.​ Originalmente llamada "Paradox", la banda cambió su nombre a "Styx" por sugerencia de Bruce, sin tener en cuenta que en ese momento ya existía una banda en los Estados Unidos con el mismo nombre.​ Llegaron a los titulares de los periódicos locales cuando un obrero local fue despertado por su actuación y, enojado, trató de romper la batería de la banda.​ Poco tiempo después la agrupación se disolvió.​ Después de graduarse de la escuela con énfasis en inglés, historia y economía, Dickinson confesó: "Realmente no sabía qué era lo que quería hacer".​ Lo primero que hizo fue unirse a la Segunda Reserva del Ejército por seis meses.​ Aunque disfrutó su experiencia militar, Dickinson se dio cuenta de que no quería esta opción como una carrera y aplicó para estudiar historia en la Universidad Queen Mary de Londres.​ Sus padres querían que se uniera al ejército, pero Bruce les mintió diciendo que quería graduarse antes para tener más libertad de cantar en bandas de rock.​ En la universidad se involucró en el Comité de Entretenimiento, afirmando sobre esta experiencia lo siguiente: "Un día eres roadie para The Jam, al día siguiente estás cargando una escenografía de Stonehenge para Hawkwind."​ En 1977 conoció a Paul "Noddy" White, un multi-instrumentista dueño de un gran equipo de grabación, con el que Bruce, junto al baterista Steve Jones, formaría una banda llamada Speed.​ De acuerdo con Dickinson, la banda se llamó Speed ("velocidad" en español) por la forma en que tocaban y no como una alusión a la droga del mismo nombre. ​ Dickinson empezó a escribir su propio material cuando White le enseñó tres acordes en su guitarra.​ Aunque Speed llegó a tocar varias veces en la taberna Green Man en Plumstead, la banda no duró mucho, pero sirvió como impulso para que Bruce se esforzara por buscar una carrera en la música.​ Dickinson vio un aviso en Melody Maker que decía: "Se necesita cantante para proyecto de grabación" y lo respondió inmediatamente.​ Grabó una cinta demo y la envió con la siguiente nota: "Por cierto, si creen que lo que canto es una basura, hay algún material de John Cleese grabado en el otro lado que espero les guste".​ Quedaron impresionados con su voz y lo invitaron al estudio para grabar una canción titulada "Dracula", primera pieza musical grabada por Bruce, con una agrupación llamada Shots,​ formada por dos hermanos, Phil y Doug Siviter.​ La canción fue incluida años después en el álbum recopilatorio The Best of Bruce Dickinson. Los hermanos quedaron impresionados con la calidad vocal de Bruce y le pidieron que se uniera a su banda.​ La agrupación realizaba presentaciones constantes en pequeños clubes.​ Una noche Dickinson se detuvo a mitad de una canción e increpó a uno de los asistentes por no prestar atención a la música.​ Esta práctica tuvo tan buena aceptación que el cantante empezó a hacerlo todas las noches como una práctica regular en sus presentaciones en vivo. Dickinson afirma que esta experiencia le enseñó a convertirse en un "frontman".​ El siguiente paso en su carrera fue la visita de los músicos Barry Graham ("Thunderstick") y Paul Samson a una de las presentaciones de Shots en una taberna llamada Prince of Wales en Kent.​ Impresionados con su voz y su manejo del escenario, hablaron con Dickinson después de la presentación y le ofrecieron ser el cantante de su banda, Samson.​ Dickinson aceptó unirse a la agrupación con la condición de que le dejaran presentar sus exámenes finales de historia.​ Hasta ese momento, había estado descuidando su educación universitaria.​ Como resultado, la universidad había intentado expulsarlo por reprobar sus exámenes de segundo año y no pagar sus honorarios de alojamiento, pero logró continuar debido a su papel como oficial de entretenimiento.​ Después de escribir ensayos de seis meses en el lapso de dos semanas y algunos ejercicios de última hora para sus exámenes, Dickinson logró graduarse sin muchos méritos.​ El 19 de julio de 2011, Dickinson obtuvo un doctorado honorario en música de parte de su alma máter en honor a sus contribuciones a la industria musical.​ Después de conocer a Paul Samson y a Barry Purkis y de culminar sus exámenes finales, Dickinson se unió a la banda Samson en un escenario de Bishop's Stortford para cantar la canción "Rock Me Baby", consolidando su papel como nuevo vocalista principal de la agrupación.​ La banda ya había publicado su álbum debut, Survivors de 1979, dos meses antes de la llegada de Bruce.​ Tras culminar sus estudios, Dickinson se encontró con la banda en un estudio de grabación de Greenwich para aprender las canciones de Survivors.​ Aunque no encajaban en su estilo vocal,​ la banda rápidamente escribió nuevas canciones que serían incluidas en el álbum Head On,​ algunas de las cuales fueron tocadas en vivo poco tiempo después.​ Fue durante esos primeros ensayos que surgió el nombre artístico de "Bruce Bruce", derivado de un episodio llamado "Bruces sketch" de la serie de televisión Monty Python.​ El nombre se volvió muy tedioso para Dickinson ya que la banda continuamente emitía cheques sin fondos, pagaderos a favor de "Bruce Bruce" a modo de broma.​ Dickinson más tarde comentó que odiaba ese nombre pero que terminó aceptándolo como su nombre artístico.​ Bruce se llevó una sorpresa al enterarse que no todos los músicos de rock eran "grandes artistas"; sentía que algunos de ellos, como sus compañeros en Samson, solo estaban interesados ​​en las mujeres, las drogas y el alcohol, algo con lo que no estaba de acuerdo pues sus aspiraciones eran mayores.​ Aunque había fumado marihuana antes,​ Dickinson descubrió que le era imposible comunicarse con los otros miembros de la banda si estaba sobrio, y decidió que era "el precio que debía pagar".​ Mientras lideraba la banda, Bruce escuchó a Iron Maiden por primera vez cuando la agrupación de Steve Harris abrió uno de los conciertos de Samson en el Music Machine en 1980.​ Al respecto, Dickinson afirmó: "Los vi en vivo ese día y me di cuenta que eran buenos, realmente buenos. Recuerdo que en ese momento pensé que quería ser su vocalista".​ Dickinson permaneció en Samson un año, grabando los álbumes de estudio Head On y Shock Tactics.​ Sin embargo, la banda pronto tuvo dificultades con su sello discográfico, Gem Records, que entró en quiebra y no financió su gira europea como soporte de Iron Maiden.​ La banda firmó con RCA, pero la discográfica no se mostró muy interesada.​ Tras una presentación de Samson en el Festival de Reading, el mánager de Iron Maiden, Rod Smallwood, se acercó a Dickinson y le ofreció ser el nuevo vocalista de Iron Maiden.​ Dickinson audicionó para Iron Maiden en una sala de ensayos en Hackney en septiembre de 1981. Allí descubrió que la banda tenía un nivel de profesionalismo superior al de su anterior grupo, Samson.​ En la sala de ensayos, la banda tocó las canciones "Prowler", "Sanctuary", "Running Free" y "Remember Tomorrow", antes de pedirle a Dickinson que cantara las mismas canciones en un estudio de grabación.​ Iron Maiden tenía una rutina estricta y organizada que se adaptaba al estilo de composición de la banda, algo que Dickinson describió como "la tabla de tiempo".​ Después de brindar algunos conciertos, la agrupación comenzó a componer nuevo material para su tercer álbum de estudio, The Number of the Beast, publicado en 1982. A raíz de los problemas contractuales de Samson, Dickinson no pudo ser acreditado legalmente en ninguna de las canciones del disco,​ limitándose a hacer lo que él mismo llamó como "contribuciones morales", revelando años después que contribuyó en alguna medida en la composición de las canciones "The Prisoner", "Children of the Damned" y "Run to the Hills".​ El álbum fue un éxito y encabezó las listas británicas,​ logrando la certificación de disco de platino en el Reino Unido y en los Estados Unidos.​ Tras su lanzamiento, la banda se embarcó en la gira internacional The Beast on the Road para promocionar el disco. En los siguientes álbumes, Piece of Mind de 1983 y Powerslave de 1984, el monopolio compositivo de Steve Harris fue dejado de lado para incorporar las ideas de los demás miembros de la banda. Dickinson contribuyó con la composición de algunas canciones como los sencillos "Flight of Icarus" y "2 Minutes to Midnight".​ Durante la multitudinaria gira World Slavery Tour, como parte de los nuevos elementos teatrales incorporados en el escenario de la banda, Bruce usó una máscara con plumas durante la interpretación de la canción "Powerslave". Según sus propias declaraciones, compró dicha máscara en una tienda de artículos sexuales.​ La gira fue tan larga y desgastante que Dickinson llegó a considerar abandonar el proyecto cuando el tour se encontraba a mitad de camino.​ La gerencia de Iron Maiden añadía fechas a la gira constantemente hasta que Dickinson amenazó con dejar la banda si continuaban haciéndolo.​ Al finalizar la gira, la banda se tomó seis meses de descanso, tiempo que Bruce aprovechó para practicar esgrima.​ Iron Maiden comenzó a escribir material para su siguiente álbum, Somewhere in Time. Dickinson estaba decepcionado ya que sentía que la banda requería en ese momento de un estilo más acústico para seguir siendo relevante, a pesar de que se introdujeron sintetizadores en la grabación del disco.​ No tuvo créditos de composición en el álbum, ya que su material fue rechazado por el resto de la banda.​ Steve Harris declaró que esto ocurrió porque sus composiciones no eran lo suficientemente buenas, pues Dickinson "probablemente era el más afectado tras finalizar la gira World Slavery Tour".​ Tras la gira promocional de Somewhere in Time, Iron Maiden empezó a trabajar en su siguiente álbum de estudio, Seventh Son of a Seventh Son, disco más experimental que sus anteriores trabajos y con algunos elementos de rock progresivo.​ Aunque se convirtió en el segundo álbum de Iron Maiden en encabezar las listas de éxitos británicas,​ fue el primer álbum con Dickinson como cantante que no alcanzó la certificación de platino en los Estados Unidos.​ A diferencia de Somewhere in Time, Dickinson se mostró más entusiasmado con el álbum y aportó créditos de composición.​ Después de finalizar la gira promocional del disco en 1988, el grupo decidió tomarse un año de descanso.​ Durante la etapa de composición del siguiente álbum, el guitarrista Adrian Smith dejó la banda y fue reemplazado por Janick Gers. El octavo álbum de estudio de Iron Maiden, No Prayer for the Dying de 1990, representó un cambio significativo en el sonido de la banda, abandonando la experimentación a favor de un heavy metal más convencional y comercial. Bruce cambió su forma de cantar, adoptando una voz más áspera.​ El disco fue grabado en un rancho de propiedad de Steve Harris con el estudio móvil de The Rolling Stones.​ La canción "Bring Your Daughter... to the Slaughter", compuesta originalmente por Dickinson para la banda sonora de la película de terror estadounidense A Nightmare on Elm Street 5: The Dream Child, se convirtió en el único sencillo de Iron Maiden en encabezar la lista de éxitos UK Singles Chart, pese a recibir un premio Golden Raspberry en la categoría de peor canción original en 1989.​ En 1992, Harris había convertido su rancho en un estudio de grabación y allí fue grabado Fear of the Dark, el nuevo álbum de estudio de la banda.​ Luego de la gira mundial Fear of the Dark Tour, Dickinson decidió dejar Iron Maiden para enfocarse en su carrera como solista.​ En ese momento la banda había agendado otra gira mundial en 1993, de la cual Bruce no disfrutó. A lo largo de la misma, Dickinson recibió muchas críticas de sus compañeros de banda. Steve Harris llegó a afirmar que en ese momento quería matarlo,​ pues según él, Dickinson solamente se esforzaba cuando la prensa se encontraba en el evento,​ de lo contrario simplemente mascullaba las canciones arriba del escenario.​ Bruce ha negado estas acusaciones, argumentando que le era imposible brindar un rendimiento decente algunas noches debido a la mala atmósfera existente entre él y sus compañeros.​ Su última presentación con la banda fue filmada por la BBC en los estudios Pinewood y publicada en vídeo con el título Raising Hell, con la incorporación del ilusionista Simon Drake animando el espectáculo.​ Junto con Adrian Smith, Dickinson regresó a Iron Maiden en 1999 después de sostener una conversación con Rod Smallwood.​ Smallwood le mencionó la posibilidad del retorno de Bruce a Steve Harris, pero el bajista inicialmente mostró algunas reservas al respecto, algo que cambió con el paso del tiempo.​ Harris y Dickinson se reunieron en la casa de Smallwood en Brighton en enero de 1999 para dialogar, algo que no ocurría entre ambos músicos desde 1993.​ Aunque se encontraban nerviosos por el encuentro, al verse cara a cara la tensión se disipó de inmediato y ambos acordaron que Dickinson debía regresar al grupo.​ Después de embarcarse en la gira promocional del álbum recopilatorio Ed Hunter, la banda ingresó al estudio para grabar el disco Brave New World, primer álbum con Dickinson desde 1992. Bruce insistió en que la agrupación debía buscar un nuevo productor en reemplazo de Martin Birch y grabar en un estudio diferente al que se utilizó para la grabación de No Prayer for the Dying y Fear of the Dark, algo que Harris aceptó.​ Finalmente el disco fue grabado en los estudios Guillaume Tell en París con el productor Kevin "The Caveman" Shirley.​ La agrupación se embarcó en una gira mundial, finalizando en el popular festival Rock in Rio ante unas 250000 personas.​ En 2003 la banda grabó el álbum Dance of Death en los estudios SARM de Londres, nuevamente con Kevin Shirley como productor.​ Después de salir de gira Iron Maiden regresó a SARM en 2006 para grabar el álbum A Matter of Life and Death,​ para luego embarcarse en un tour a nivel mundial. Entre 2008 y 2009 la banda llevó a cabo la gira Somewhere Back In Time World Tour,​ en la que Bruce piloteó un Boeing 757 bautizado Ed Force One.​ Fue realizado un entensivo documental sobre la gira titulado Iron Maiden: Flight 666, que tuvo un estreno limitado en cines en 2009.​ Iron Maiden volvió a salir de gira en 2010 para promocionar un nuevo disco, llamado The Final Frontier​ y grabado en Nassau.​ En septiembre de 2014 Iron Maiden empezó la grabación de su álbum de estudio número 16, The Book of Souls, en los estudios Guillaume Tell en París.​ El álbum contiene dos canciones escritas en su totalidad por Dickinson, "If Eternity Should Fail" y "Empire of the Clouds",​ la primera de ellas escrita para un posible álbum como solista.​ "Empire of the Clouds", de casi 18 minutos de duración,​ se convirtió en la canción más larga en toda la discografía de Iron Maiden y presenta a Bruce Dickinson tocando el piano por primera vez en una grabación de la banda.​ Hubo una nueva gira en 2016, con Dickinson piloteando nuevamente el avión de la agrupación.​ En el marco de la gira Eddie Rips Up the World Tour en 2005, Iron Maiden se presentó en el festival estadounidense Ozzfest junto a Black Sabbath como cabeza de cartel. Sharon, la esposa y representante del cantante Ozzy Osbourne, incitó a algunos amigos de su familia y miembros de otras bandas a sabotear la última presentación de Iron Maiden en el Anfiteatro San Manuel en San Bernardino, California el 20 de agosto,​ en un ataque que fue descrito por Rod Smallwood como "vil, peligroso, criminal y cobarde, un irrespeto a los fanáticos que pagaron una entrada para ver a su banda tocar un concierto completo".​ Sharon ordenó que el sonido de la banda fuera cortado, retrasó la entrada de la mascota Eddie the Head​ y alentó a los seguidores de su familia a arrojar huevos, tapas de botellas y encendedores desde la audiencia.​ De acuerdo a Dickinson, este ataque fue la respuesta a unas declaraciones dadas por el músico en las que criticaba los programas de telerrealidad, algo que, según él, Sharon Osbourne tomó de manera personal.​ Sin embargo, el diario The Guardian informó que Dickinson se había referido de mala manera al programa The Osbournes y había hecho mofa del uso del teleprónter en los conciertos de Ozzy Osbourne.​ Dickinson ha negado haber hecho comentarios contra Ozzy Osbourne y Black Sabbath,​ pero admitió sus críticas hacia la organización del Ozzfest, asegurando que muchas de las bandas que participaban del festival habían pagado para poder estar allí.​ Después del fallido concierto en San Bernardino, Sharon lanzó una declaración adicional donde acusaba a Dickinson de hacer varios comentarios en contra de los Estados Unidos,​ de los que no se presentó ninguna evidencia.​ Adicionalmente, Osbourne afirmó que la bandera británica exhibida por Dickinson durante la canción "The Trooper" era una falta de respeto con las tropas estadounidenses​ que en ese momento se encontraban peleando junto al ejército británico en la Guerra de Irak.​ Sharon también afirmó que Steve Harris le había presentado disculpas a su esposo Ozzy en San Bernardino por los comentarios de Dickinson,​ algo que Harris negó tiempo después, asegurando que sus palabras fueron tergiversadas.​ A comienzos de 1989, el sello discográfico Zomba le pidió a Dickinson que produjera una canción para la película de horror A Nightmare on Elm Street 5: The Dream Child,​ proporcionándole un presupuesto, un estudio y un productor, Chris Tsangarides. Dickinson aceptó la propuesta y se puso en contacto con el guitarrista Janick Gers para grabar la canción "Bring Your Daughter to the Slaughter"​ con la colaboración del bajista Andy Carr y del baterista Fabio del Río.​ "La escribí en tres minutos", afirmó Dickinson, "No se de donde salió el título, simplemente apareció en mi cabeza".​ Impresionados con los resultados, los agentes de Zomba le ofrecieron a Dickinson un contrato para grabar un álbum completo en calidad de solista.​ Con la misma alineación y el mismo productor, el álbum debut de Bruce Dickinson, Tattooed Millionaire, fue escrito y grabado en aproximadamente dos semanas y publicado en mayo de 1990 con su correspondiente gira.​ Ese mismo año Dickinson grabó el clásico de Deep Purple "Smoke on the Water" junto con otras estrellas del rock como Ritchie Blackmore, Paul Rodgers, Bryan Adams, Tony Iommi, David Gilmour y Brian May, como parte del esfuerzo benéfico Rock Aid Armenia.​ Acompañado por la banda británica Skin, produjo una versión de la canción "Elected" de Alice Cooper con el actor Rowan Atkinson (caracterizando a Mr. Bean), usada en 1992 por la organización caritativa Comic Relief​ y cinco años más tarde en la banda sonora de la película de humor Bean.​ Para su segunda producción discográfica como solista, Dickinson contó con la colaboración del productor estadounidense Keith Olsen. Mientras se encontraba trabajando en el disco en Los Ángeles, decidió abandonar la alineación de Iron Maiden.​ Descontento por la orientación que estaba tomando el proyecto con Olsen, Dickinson empezó a trabajar con el guitarrista de la banda de rock latino Tribe of Gypsies, Roy Z.​ El álbum Balls to Picasso fue grabado con la banda Tribe of Gypsies como soporte​ y publicado en 1994. El mismo año Dickinson grabó una versión de la canción "Sabbath Bloody Sabbath" con la banda Godspeed para el disco tributo a Black Sabbath Nativity in Black.​ Con la ayuda del compositor y guitarrista Alex Dickson, Bruce empezó a crear material para su nuevo disco.​ En 1994 y con su nueva banda, Bruce brindó un concierto en Sarajevo. Esta presentación fue usada para crear el documental Scream For Me Sarajevo, estrenado en 2017.​ Tras la finalización de la gira en soporte del disco Balls to Picasso, Dickinson empezó a trabajar en la grabación de su nuevo álbum, Skunkworks. El músico decidió que Skunkworks sería también el nombre de la banda, pero la compañía discográfica se rehusó a publicar el álbum sin que su nombre apareciera en la portada.​ Dickinson contrató al productor Jack Endino, recordado por producir el primer álbum de estudio de Nirvana. El proyecto Skunkworks se disolvió cuando finalizó la gira. "Estaba devastado por lo de Skunkworks", afirmó Bruce, "Skunkworks fue un disco por el que trabajé incansablemente y a nadie pareció importarle una mierda".​ Después de un breve periodo de inactividad, Dickinson se reunió nuevamente con el guitarrista Roy Z para grabar su siguiente disco, Accident of Birth. "Fue realmente Roy el que me convenció de volver a intentarlo. Me llamó por teléfono y me dijo que estaba trabajando en un nuevo material que sonaba como un álbum de metal. Yo estaba asustado, pensaba que no tenía nada para ofrecer. Pero cuando escuché por el teléfono algunas de sus canciones me di cuenta que realmente había algo allí".​ Bruce le ofreció al guitarrista Adrian Smith que tomara parte de la grabación del álbum como un segundo guitarrista, pero terminó quedándose definitivamente en la alineación.​ El álbum marcó el retorno de Bruce Dickinson al heavy metal, logrando excelentes críticas por parte de la prensa especializada. El portal Sputnikmusic remarcó: "Es un álbum satisfactorio que llena el vacío que dejó Iron Maiden durante la década de 1990".​ El siguiente disco, The Chemical Wedding, un álbum semi-conceptual basado en la obra de William Blake, fue incluso más exitoso que su predecesor. Sputnikmusic afirmó: "Bruce ha superado todas las expectativas dando vida a un álbum incluso mejor que el anterior."​ Durante la gira soporte de The Chemical Wedding fue grabada una presentación en tierras brasileñas, registrada en el álbum Scream for Me Brazil. El disco fue publicado en 1999, año en el que Smith y Dickinson regresaron a Iron Maiden. En el año 2000, Dickinson aportó la voz para la canción "Into the Black Hole" del álbum Universal Migrator Part 2: Flight of the Migrator de la banda de metal progresivo Ayreon.​ Ese mismo año colaboró con el cantante Rob Halford en la grabación de la canción "The One You Love to Hate", disponible en el álbum Resurrection de la banda Halford.​ Un álbum recopilatorio titulado The Best of Bruce Dickinson fue publicado a finales de 2001, incluyendo dos nuevas canciones y un disco de rarezas.​ Su último álbum de estudio, Tyranny of Souls, fue publicado en mayo de 2005. En esta oportunidad, la composición de las canciones se dividió entre Roy Z y Dickinson y muchas canciones fueron compuestas por Roy, quien le enviaba las grabaciones a Bruce mientras estaba de gira con Iron Maiden.​ El 21 de junio de 2005 la discografía completa de Bruce Dickinson fue relanzada con material adicional. El mismo año Bruce aportó su voz para la canción "Beast in the Light" de la banda brasileña Tribuzy.​ Un box-set compuesto por tres discos de DVD titulado Anthology fue publicado el 19 de junio de 2006, con conciertos y vídeos promocionales de toda la carrera en solitario del cantante, al igual que un vídeo clásico de Samson titulado "Biceps of Steel".​ En diciembre de 2017, Dickinson afirmó que existía la posibilidad de publicar un álbum conceptual titulado If Eternity Should Fail, el mismo nombre de la primera canción del álbum The Book of Souls de Iron Maiden, confirmando que dicha canción fue compuesta originalmente para ser usada en su nuevo trabajo como solista. "Si hago otro álbum en solitario, algo que creo que haré, podría seguir con mi plan original y titularlo If Eternity Should Fail. Fue la primera canción que escribí para él. Entonces probablemente la incluiría allí. Pero sería ligeramente diferente a la versión de Maiden". Bruce estuvo casado con Jane Dickinson entre 1983 y 1987.​ Posteriormente, se casó con Paddy Bowden, con quien tiene tres hijos: Austin (nacido en 1990), Griffin (nacido en 1992) y Kia (nacida en 1994).​ Todos nacieron en Chiswick, Londres,​ donde Dickinson ha vivido desde 1981. ​ Austin Dickinson fue el vocalista principal de la banda de metalcore Rise to Remain​ hasta que esta se disolvió en 2015. Tiempo después formó un nuevo grupo llamado As Lions.​ Griffin Dickinson, que había trabajado como técnico durante algunas giras de Iron Maiden,​ es el vocalista de la banda de hardcore melódico SHVPES.​ El primo de Bruce, Rob Dickinson, fue el cantante de la banda de rock alternativo Catherine Wheel y fundó la compañía Singer Vehicle Design, especializada en vehículos Porsche.​ En una entrevista con Sarah Montague para el programa HARDtalk de la BBC en 2012, Dickinson se describió como conservador y euroescéptico.​ En 2015 el músico se sometió a siete semanas de quimioterapia y radioterapia para combatir un tumor cancerígeno en la parte posterior de su lengua.​ Su equipo médico esperaba una total recuperación tras detectar el tumor en una primera etapa de desarrollo.​ El 15 de mayo sus especialistas le informaron que el tumor había sido controlado. En una entrevista con el periodista estadounidense Eddie Trunk, Bruce afirmó que su enfermedad había sido ocasionada por el virus del papiloma humano, probablemente adquirido por la práctica del sexo oral.​ Aparte de la música, Dickinson ha trabajado en diversos campos. Practica esgrima con un gran nivel, llegando a alcanzar la séptima posición en la clasificación de la disciplina en Gran Bretaña,​ fundando además una compañía de equipamiento para el deporte llamada "Duellists" ("duelistas" en castellano, referencia al título de una canción del álbum Powerslave de Iron Maiden).​ También es piloto de aviones y ocupó el rango de comandante para la desaparecida empresa de aviación Astraeus. Es el propietario de una empresa de mantenimiento de aviones. En 2010 Bruce asumió como director de marketing de Astraeus. Dado el amplio interés y experiencia en diferentes áreas del conocimiento, Dickinson es considerado como un polímata, siendo calificado como tal por la revista británica Intelligent Life (hoy conocida como 1843) en una edición del año 2009.​ Dickinson aprendió a volar de forma recreacional en Florida en la década de 1990​ y actualmente cuenta con una licencia de piloto. Regularmente pilotaba aviones Boeing 757 en su rol de capitán de la aerolínea de vuelos chárter Astraeus,​ en la cual también se desempeñó como director de mercadeo.​ Tras el cierre de Astraeus el 21 de noviembre de 2011, Dickinson fundó la compañía Cardiff Aviation Limited el 1 de mayo de 2012, especializada en el mantenimiento de aeronaves.​ De acuerdo a The Wall Street Journal, en enero de 2013 Cardiff Aviation había generado 40 empleos y tenía la meta de superar los 100 empleos para 2013.​ En junio de 2013, The Daily Telegraph reportó que la compañía había logrado generar alrededor de 70 nuevos empleos.​ En agosto de 2015, Cardiff Aviation firmó un contrato para brindar sus servicios a la aerolínea Air Djibouti.​ Como resultado de su experiencia en los negocios, ha sido orador en importantes eventos alrededor del mundo.​ Su papel como piloto lo ha llevado a liderar algunos vuelos de alto perfil, como el retorno de un grupo de pilotos de la Real Fuerza Aérea desde Afganistán en 2008,​ 200 ciudadanos británicos desde Líbano durante el conflicto bélico de ese país en 2006​ y 180 turistas varados en Egipto tras el colapso de la aerolínea XL Airways en septiembre de 2008.​ Adicionalmente transportó a las plantillas de los equipos de fútbol Rangers F.C. y Liverpool F.C. a jugar partidos como visitante en Israel e Italia en 2007 y 2010 respectivamente.​ En la gira Somewhere Back In Time World Tour fue el piloto del Boeing 757 que transportó a la banda y a todo su montaje en un extenso tour a nivel mundial.​ Esta experiencia fue registrada en el documental Iron Maiden: Flight 666.​ Dickinson pilotó el "Ed Force One" nuevamente para la gira The Final Frontier World Tour en 2011.​ Para la gira The Book of Souls World Tour, la banda voló en un jet Boeing 747-400, pilotado de igual manera por el cantante.​ Presentó un programa llamado Bruce Dickinson's Friday Rock Show en una emisora de radio de la BBC inglesa especializado en rock alternativo. Su última transmisión en vivo ocurrió el 28 de mayo de 2010 abandonando el formato habitual del programa para realizar un tributo personal y musical al cantante entonces recién fallecido Ronnie James Dio. También estuvo encargado del programa Monsters of Rock en otro dial de la misma radio entre 2003 y 2007.​ En 2005 fue el presentador del documental Flying Heavy Metal del canal Discovery Channel, en el que combinaba sus dos grandes aficiones, los aviones y la música.​ En 2006 presentó un documental para Sky One titulado Inside Spontaneous Human Combustion with Bruce Dickinson, en el que se investigaba el fenómeno de la combustión humana espontánea mediante la ayuda de varios expertos y la realización de varios experimentos para determinar su posible causa.​ Otras apariciones en televisión incluyen papeles de invitado en producciones como Never Mind the Buzzcocks, Space Cadets y Clarkson, programa conducido por Jeremy Clarkson.​ Dickinson también apareció en una serie de la BBC llamada The Paradise Club, interpretando el papel de un músico llamado Jake Skinner.​ Durante la gira Somewhere on Tour en 1987, Dickinson empezó a escribir su primera novela.​ El músico describió su obra The Adventures of Lord Iffy Boatrace como una mezcla entre la literatura de Tom Sharpe, el piloto ficticio Biggles y la revista Penthouse.​ Kerrang! se refirió a la misma como "un ataque satírico al fetichismo entre las clases altas".​ Tras terminar su escritura, Dickinson se dirigió a la editorial Sidgwick & Jackson, quienes, según el propio Bruce, accedieron a publicar el libro sin siquiera leerlo, basados simplemente en las ventas de los álbumes de Iron Maiden.​ Publicada en 1990, la novela vendió más de 40.000 copias en poco tiempo.​ Debido a la alta demanda, Sidgwick & Jackson pidieron a Dickinson la producción de una secuela,​ publicada en 1992 con el título The Missionary Position, una sátira al teleevangelismo.​ No se publicaron nuevas novelas de la serie, aunque Dickinson escribió las primeras 60 páginas de una precuela que pretendía contar la historia de Lord Iffy Boatrace en su adolescencia.​ Escribió el guion para la película Chemical Wedding junto al cineasta Julian Doyle, basada en la vida y obra de Aleister Crowley, el legendario místico, mago y ocultista inglés del siglo XX, fundador de la religión neopagana Thelema. La película, en la que Dickinson apareció en un pequeño cameo, fue estrenada en 2008 y contó con la actuación de Simon Callow.​ El 15 de octubre de 2015, las editoriales HarperCollins y Dey Street anunciaron la publicación de un libro con las memorias de Bruce Dickinson.​ What Does This Button Do?​ fue publicado el 19 de octubre de 2017.​ En 2013 Iron Maiden colaboró con la compañía cervecera Robinsons Brewery en la localidad de Stockport para crear la cerveza "Trooper",​ mediante una receta formulada por Dickinson con el cervecero Martyn Weeks.​ En mayo de 2014 la cerveza había vendido más de dos millones de pintas en 40 países, convirtiéndose en la exportación más exitosa de Robinsons.​ Tras el éxito de Trooper, Dickinson, un fanático de la cerveza de barril tradicional inglesa,​ declaró que tiene la intención de desarrollar más cervezas en el futuro, aunque los nuevos productos estarían "basados en Trooper y no en Iron Maiden, pues Trooper ha tomado una vida propia. La gente la bebe porque les gusta la cerveza, no porque sean fanáticos de Maiden".​ Aunque Dickinson nunca recibió un entrenamiento de voz formal, aún posee un amplio rango vocal registrado como tenor dramático. ​ Junto con Ronnie James Dio y Rob Halford, Dickinson es uno de los pioneros del estilo vocal operístico que más tarde sería adoptado por los vocalistas de power metal y regularmente aparece cerca de la cima en las listas de los mejores vocalistas de rock de todos los tiempos.​ Bruce ha afirmado que su estilo fue influenciado principalmente por los cantantes Arthur Brown, Ian Gillan de (Deep Purple), Ian Anderson (de Jethro Tull) y Peter Hammill (de Van der Graaf Generator).​ Su forma de cantar varió notablemente en la década de 1990 en la grabación de álbumes como No Prayer for the Dying, Fear of the Dark y su primer trabajo en solitario Tattooed Millionaire, haciendo uso de un sonido mucho más áspero, algo especialmente notorio en la canción "Be Quick or Be Dead" de Fear of the Dark.​ Desde su regreso a Iron Maiden en 1999, adoptó nuevamente su particular voz de la década de 1980,​ aunque su potencia ha disminuido con la edad.​ Según un informe publicado en el Daily Mirror, Dickinson tiene un rango vocal estimado de 4.25 octavas.​ Además de su capacidad vocal, Bruce es conocido por sus actuaciones enérgicas en el escenario, que ofrece constantemente a pesar de su edad.​ Considera que el público asistente debe sentir "la esencia de la experiencia de Maiden" y que su papel es "reducir el lugar para convertir un estadio de fútbol en el club más pequeño del mundo".​ Para lograr esto, insiste en mantener contacto visual con los miembros de la audiencia,​ motivándolos a gritar usando la frase "Scream for Me" ("Griten para mí").​ Constantemente critica a los artistas que no se conectan con sus fanáticos, particularmente con aquellos que "se ocultan detrás de los amplificadores" y usan teleprompters, señalando que "la gente paga un buen dinero para verlos y ellos ni siquiera pueden recordar la maldita letra de sus canciones". Discografia Oficial: https://www.discogs.com/es/artist/260980-Bruce-Dickinson

Episode 86 Merry Moog 2022 Vintage Holiday Music Performed on the Moog and other Synthesizers Playlist Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38 Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12 Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16 Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP's X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34 Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn't appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19 Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44 Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46 Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52 Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02 Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34 Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05 Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43 Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43 Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21 Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58 Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12 Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00 Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14 Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12 The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08 Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46 Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56 Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39 Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56 Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54 Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53 Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17 Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51 The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17 Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don't know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21 Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I've included this track not only because it features some crazy electric guitar but also because Minnie Riperton's five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I've heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It's pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52 Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11 Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don't normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34 Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57 Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06 Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46 Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48 Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32 Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 Opening background music: Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16 Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55 Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation For additional notes, please see my blog, Noise and Notations.

Heart, Jonathan Cain, Keith Olsen, and us.

EP 556 featuring an ongoing discussion with vocalist Robert Mason on the second Lynch Mob Album

EP 556 featuring an ongoing discussion with vocalist Robert Mason on the second Lynch Mob Album

EP 555 featuring a discussion with vocalist Robert Mason on the second Lynch Mob Album

EP 555 featuring a discussion with vocalist Robert Mason on the second Lynch Mob Album

EP 554 featuring a discussion with bassist Anthony Esposito on the second Lynch Mob Album

EP 554 featuring a discussion with bassist Anthony Esposito on the second Lynch Mob Album

Los Angeles Artist, Heidi Webster released her newest single, Neon, in May 2021, accompanied by a colorful and captivating music video. A songwriter and performer since childhood, Heidi moved to LA in 2016 after starring in the broadway-review smash hit "Showstoppers" at the Wynn, Las Vegas. There, she began working with Grammy Award winning producer, Keith Olsen and Tom Weir, Grammy-award winning engineer. She wrote and co-produced her first three single releases, which debuted in 2020.  Webster's artistry, creativity and passion for the power of music comes from her career, not only as a performer, but as a music therapist in hospice care. She has launched her own music production and publishing company, Light On Creative and over the past year, Webster's dedication and ambition has led her to opportunities to work as a composer with 20th Century Films, Disney, and ABC. Heidi's EP, Night Light, which showcases her honest lyrics, and throwback production style, is set to release in July of 2021. https://www.instagram.com/heidiwebstermusic/    www.heidiwebster.com       

Join us this week as we welcome life long friend and New York City Firefighter, Keith Olsen. Olsen gives us an inside look at his journey to becoming a part of the FDNY. He gives us an insight look from his time taking the written test, to his experience in the academy, to what it was like walking into the firehouse for the first time, to his first major call as a firefighter. Olsen and Greg also reminisce of the good old times that they spent together growing up in Staten Island, NY. You won't want to miss this episode from a local hero as he proves exactly why the FDNY is known as New York's Bravest! Instagram - https://instagram.com/olsen31k?igshid=17dhmqjwof6xw Twitter - https://twitter.com/olsen31k?s=11

This is a full in bloom interview with guitarist Adrian Vandenberg. Adrian talks about joining Whitesnake, the 1987 album/tour, John Sykes, "Here I Go Again," Vivian Campbell, the Texxas Jam, Motley Crue, Keith Olsen, & more. You can listen to our other interview with Adrian @ fullinbloom.com: https://fullinbloom.com/ex-whitesnake-guitarist-adrian-vandenberg-the-full-in-bloom-interview-2020/ Hit the subscribe button & click the bell if you would like to be notified as new interviews & excerpts are uploaded. Song by FOOL OF FATE

Ariane Cap & Andrew Ford talk about their guitar lessons available on TrueFire, perform, and answer questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Ariane:Born and raised in Innsbruck, Austria, Ariane has been musically active since the age of five, playing classical piano and the recorder. She entered the Conservatory of the Land Tirol at age 6, where she studied the piano and the flute until the age of 18. She started playing in local rock, pop and dance bands and picked up the electric bass and soon added the upright. She entered the Academy of Music Vienna in 1996 studying jazz bass and bass education. In 1998, she received a scholarship from the Academy of Music of Vienna in Austria to the University of Miami, where she spent a year in the graduate program on Austrian and US scholarships. She then received a teaching assistantship at the University of South Florida in Tampa, where she received her Graduate Certificate of Music.Ariane has studied with greats such as Victor Wooten, Steve Bailey, Chuck Rainey, Gerald Veasley, Kai Eckhardt, Kenny Werner, and others.Ariane has played in countless bands and projects in Europe and the US, enjoying eclectic styles. She particularly loved playing with bands such as the Mozartband (a fusion of funk, rock and Mozart featuring members of the Viennese Philharmonic), and the Celtic rock band Tempest, who she toured with for three years. Ariane recorded and toured with "kindie-rock" sensation The Sippy Cups, a psychedelic rock circus appealing to kids and their parents alike with jugglers, aerialists, and a rocking show, as well as The Palmwine Boys, who fuse acoustic African Palmwine Music with Americana. Ariane was part of the creation of Cirque du Soleil's adaptation of The Tempest, Amaluna, in Montreal.She is an experienced sideman as well, most recently supporting guitar virtuoso Muriel Anderson and the German flamenco stars Tierra Negra on fretted and fretless basses, or Cabo Jazz pianist Diego Rodriguez and vocalist extraordinaire Daline Jones. She recently recorded with multi Grammy award winning producer Keith Olsen. Current bands include Lara Price's Girls Got the Blues, an all-star female cast of Bay Area musicians including Janice Maxie-Reid, Pam Hawkins and Annie Sampson, as well as the platinum winning band Generation Esmeralda with Jimmy Goings. She plays 80's Rock and adaptations of game music with the band Raj and the Zenmasters.Ariane also performs a solo set featuring a genre bending selection (from Bach via Jazz to African World Music) of originals and covers performed on her effects and looping setup. Her latest project is a duo with Bassoonist Paul Hanson, the OoN Band (Out of Nowhere).The founder of "Step Up Music Vallejo," she is also an educator. She co-conducts bass seminars and rock camps all over the US, teaching along side Steve Bailey, Leo Nocentelli, DJ Logic, Dave LaRue, Carl Verheyen, Walfredo Reyes, and others. She regularly teaches at the Berkeley Jazz School and Workshop, in high demand for her "Pattern system" approach and her creative way of integrating music theory and ear training naturally. In 2014, she was selected by the prestigious Ucross Foundation to participate in an artist in residence program in Ucross, Wyoming. She used this time to write, compose and practice 11 hours a day and more.As a freelancing composer and sound designer, Ariane has turned out music and sound for hand held and online games for Wolf Track Audio, Karney Music, and Sound and Somatone. About Andrew:Andrew Ford is a bass player, composer, arranger, producer and educator. He has performed with legendary artists in almost every major genre of music, while also having a Masters degree in Education. He has recorded, toured, or performed with Al Jarreau, Whitney Houston, David Crosby, Robben Ford, Chaka Khan, George Duke, Gladys Knight, James Ingram, Israel Houghton, Dianne Reeves, Peabo Bryson, Patti Austin, Lynne Fiddmont, Christopher Cross, Jerry Butler, Michael McDonald, David Pack, The Emotions, Melissa Manchester, Brenda Russell, Phil Perry, The Stylistics, Larry Carlton, Oleta Adams, Jeffrey Osborne, Jeff Lorber, Deniece Williams, Randy Crawford, Norman Brown, Graham Nash, Boney James, Paul Brown, Kirk Whalum, Michael Paulo and many others.Andrew has taught bass at the Musicians Institute in Hollywood(BIT), Citrus Community College, the Los Angeles Music Academy, and the University of La Verne. He has also taught Music Business at the college level. He has written or co-written many songs, including "Flame" which is on the 2013 Grammy Nominated Al Jarreau project. Andrew has also had success writing for tv, with a number of songs in regular rotation.

La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Axxis es un grupo alemán de Power Metal, fundado en 1984, pero es en 1988 cuando realmente se consolidan como banda.Como el propio grupo cuenta en su web, todo comenzó con una "maqueta de una canción" que fue grabada en Kamen (Hermes Studios), con ayuda de Wolfgang Pentighaus en 1988. En esa maqueta tocaban el tema "Tears of the trees" que enviaron a todas las discográficas. Después de que EMI no firmara con Axxis debido a esta canción, enviaron la maqueta otra vez, fue aceptada, empezaron a delirar en la oficina central de EMI y...la historia de Axxis comenzó... En febrero de 1989 llegaba a las tiendas de todo el mundo "Kingdom of the Night", primer álbum de Axxis, que tras su salida vendió más de 100.000 copias, convirtiéndose así en el disco de debut de una banda de hard rock alemana más vendido de la historia (lo que les reportaría un Multimedia Award). Unos meses más tarde, en septiembre, Axxis estaba de gira por Europa con Black Sabbath. Casi sin tiempo para descansar, "Axxis II" fue lanzado en agosto de 1990, y obtuvo un éxito similar al de su predecesor. Dos meses después, el grupo giraba de nuevo por Alemania, Austria y Suiza. En mayo de 1991, convertidos en uno de los grupos revelación de la escena, grababan "Access All Areas", disco en directo. Dos años después, en 1993, llegaba "The Big Thrill" producido en Filadelfia y Nueva York por Joey Balin. Como curiosidad, este disco fue el último vinilo producido por la fábrica de EMI antes de su cierre, provocado por la muerte del vinilo a favor del CD. The Big Thrill llegaba acompañado de una gira, esta vez no como teloneros, sino como cabezas de cartel y con teloneros (Gorky Park). Durante ese tour pasaron por los festivales Rock Am Ring (Alemania) y Rock Auf Der Insel (Austria) Un año después, entre octubre y diciembre de 1994, "Matters Of Survival" era producido en los estudios Goodnight LA (Los Ángeles) por Keith Olsen. El álbum llegaba a las calles en febrero del año siguiente, con la consecuente gira, en la que pasaron por el Rock Am Ring y el Rock Im Park. "Voodoo Vibes", el disco más rockero del grupo, fue producido en los DierksStudios (Colonia) en octubre de 1996, y lanzado en febrero de 1997, sucedido de una gira por Alemania en mayo, y una gira acompañando a U.D.O. por Alemania y Suiza en diciembre, tras la cual el guitarrista Walter Pietsch abandonada el grupo. Los restantes miembros, Harry Oellers, Bernhard Weiß y Richtie Michalski, decidieron continuar juntos y buscar unos nuevos guitarrista y bajista. Desde mayo a diciembre de 1998 estuvieron haciendo pruebas hasta que, finalmente, Guido Wehmeyer como guitarrista y Udo(Kuno) Niemeyer como bajista pasaron a formar parte de la banda. Inmediatamente, Axxis en conjunto se puso a trabajar en "Back to the Kingdom", esta vez bajo Massacre Records, que llegaría en marzo de 2000, tras un parón de 2 años. La gira por Alemania fue un éxito, y vendría seguida de "Collection of Power", un EP concebido por la banda como un regalo a los fans. En septiembre de 2001 salió a la venta "Eyes of Darkness", CD multimedia que incluía un juego (Rockmine) y un clip en directo de la canción "Shadowman". En 2004, el grupo resurgía con "Time Machine", noveno disco. Dos años más tarde llegaría "Paradise in Flames", de gran éxito, considerado una de las obras maestras del grupo. Este álbum se caracteriza por un sonido mucho más renovado con respecto a sus trabajos anteriores, así como una fuerza y un desarrollo de las canciones más amplio, apareciendo más los teclados. Pero la característica más importante y notoria de este álbum es la intervención de la cantante "Lakonia", la cual ya había participado en su disco anterior como corista, pero que en este trabajo toma un papel protagonista, mostrando su bella y aguda voz en temas como "Take my hand" "Dance with the dead" o en la preciosa balada "Dont leave me". Es considerado como el mejor disco de Axxis por numerosos fans, y dentro del cual se encuentra una de las canciones que ya forman parte de las imprescindibles de esta banda: Tales of glory island. Tras el lanzamiento del décimo disco de la banda, no podía faltar un recopilatorio, y efectivamente "Best of Axxis" salió el mismo año 2006, aunque el lanzamiento quedó ligeramente empañado por la marcha del guitarrista, Guido, del grupo. En 2007 sale a la venta su undécimo disco: Doom of Destiny. En 2007 y 2008 hacen una gira junto a Gamma Ray y Helloween. Tras la gira el grupo anuncia la salida de su batería, André Hilgers, quien se une a los también alemanes Rage. Mientras que el grupo realizaba pruebas para encontrar sustituto, el puesto estuvo suplido por Dirk Brand. Finalmente, tras una intensa búsqueda, Axxis anuncia a Alex Landenburg (hasta ese momento batería de gira de Annihilator) como nuevo batería. En junio de 2009 vuelven a España para actuar en el Metalway Festival de Zaragoza, compartiendo cartel con bandas como Motorhead, Manowar, Heaven and Hell (Black Sabbath), Twisted Sister... y muchas otras bandas más. Después de las giras ofrecidas en 2008, Axxis comenzó a trabajar en un nuevo proyecto, que salió a la venta el 28 de agosto de 2009 y lleva como título "Utopia", del cual ya afirmaron en su web que sería un trabajo muy especial para celebrar su 20 aniversario. Este álbum se presenta mucho más veloz y potente que sus predecesores, con una especial fijación en los teclados y en los solos rápidos. La portada está de nuevo a cargo de Derek Gores, quien realizó las portadas de los álbumes anteriores. En España salió a la venta, aparte de la edición estándar, una edición especial con la "Canción del 20 Aniversario" donde colaboran, entre otros, artistas como Doro y Andi Deris (Cantante de la también alemana banda Helloween) En diciembre de 2009, realizan en Alemania un concierto llamado "20 Years Anniversary Show" para conmemorar sus 20 años de carrera. Este concierto se caracterizó por interpretar numerosos temas de la inmensa mayoría de sus álbumes y por contar con antiguos miembros de la banda que también subieron al escenario para realizar un concierto memorable. Tras el directo, se anunció en la web que en un futuro sería lanzado un DVD del concierto, con otros añadidos, cuya producción se completaría en 2011. Este Disco/DVD fue el primero que publicaron desde su propia productora, "Phonotraxx Music" desde la cual van a editar todos sus futuros trabajos. En mayo de 2012, publicarían un álbum de covers titulado "Rediscovered", el cual versionaba canciones de los años 70-80. Temas como "Stayin Alive" de los Bee Gees, "Another day in paradise" de Phil Collins o incluso la balada "My heart will go on" de James Horner fueron versionadas con un sonido impecable. El disco tuvo una acogida muy buena y vendieron muchos más álbumes de los que esperaban. En mayo de 2013, publican un video haciendo referencia al próximo trabajo, que consistirá en la segunda parte de su primer disco: Kingdom of the Night II.El estilo de esta banda germana siempre ha estado ligado al Heavy metal con influencias del rock n' roll. En los inicios, el estilo era más ochentero con un sonido clásico, que perduró en los álbumes siguientes aunque fueron algo más tranquilos. A partir de 1995, la música de esta banda optó primero por un cambio en el modo de hacer las canciones (Matter of survival) y luego por un sonido más rockero (Voodoo vibes). Poco después, volvieron a sus raíces y con el "Back to the kingdom" realizaron una de sus obras maestras sonando como en el primer álbum (de ahí su nombre) pero a su vez mostrando más calidad y experiencia. Pero fue en 2004 (Time machine) donde la evolución de Axxis comenzó. En este álbum se apreciaban nuevas técnicas como el doble pedal, una aparición mucho más notable del teclado, los coros con voces femeninas... y luego con "Paradise In flames" el sonido de Axxis llegó a lo más alto por diversas razones, así como un preludio orquestado, canciones que alternan voces masculinas y femeninas, solos de guitarra rápidos y melódicos y canciones en su totalidad que han hecho historia en este grupo como "Tales of glory Island" "Take my hand" o "Lady moon" eso si, nunca abandonando el Heavy Metal que los ha caracterizado, y los caracteriza. Se dice que el Axxis contemporáneo es Power, esto se debe a que en los últimos discos han aparecido canciones de Power Metal, como "Doom of destiny" o "Icewind" pero la mayoría siguen siendo de Heavy Metal. Uno de los rasgos más característicos de Axxis desde siempre es la aparición de una o más baladas en los álbumes. Suelen tratar temas amorosos, y sus letras son en la mayoría de los casos muy profundas. Cabrían destacar "Only God Knows", "Stay dont leave me", "Angel" o "Lost in love"

Rock Talk With Mitch Lafon... and Alan Niven present 30 Years of the Scorpions' landmark album Crazy World. On November 6th1990, the Scorpions released era defining album Crazy World, I sat down with songwriter Jim Valance who played a significant role in crafting the songs that would change history. Plus, he even played on the album.  #WindOfChange Listen to this episode of Rock Talk With Mitch Lafon here: https://ffm.to/rocktalkwithmitchlafon Twitter: @mitchlafon Instagram: @mitch_lafon Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.

RockPopandRoll / Episode 11 Remember Jessie’s Girl? #1 in 1981?  It is the iconic power pop song that threw musician Rick Springfield, a musician on lean times, back into the music game. He’d been in music since the late 60’s in Australia. A rocker, blessed and cursed. Great looking dude, with the “I’m on a TV show albatross” to carry.  He was a career songwriter and guitar guy who had already waded through the teen idol swamp and come out OK.  Mostly. This week on RockPopandRoll, our show is: Power Pop and Rick Springfield: Here’s 6 Songs You’ll Love if you Dig Jessie’s Girl” Host Rob Nichols, a radio vet and longtime music writer, revisits rock and roll and pop music from the playlist of the decade of the 80s I get it.  Here’s the common word on Rick Springfield  - he isn’t a legitimate rock and roll guy. I call bullshit.  If you take the music he has made, especially from 1981 to now, he qualifies.  A couple bigtime hits.  A dozen stellar pop, rock, and power pop songs that cracked the top 40.  And a career that he revived in the late 90s and still has rolling.  Springfield sometimes tries too hard with overwrought lyrics.  Heavy handed.  A bit cliché.  And some of his music, when he is not trafficking in the sugary, rocking thing, it doesn’t work well.  There’s stuff he has put out – in his heyday of 1981-86 or so, and in some of his more recent albums, that is sincere but just doesn’t hit it his pocket for me.  Like he tries too hard. But then there’s the Rick Springfield that is a star because of the Working Class Dog record, a wholly under-appreciated power pop album – a genre part of rock and roll and radio rock in the late 70s through 1983 or so.  The album had “Jessie’s Girl”, “I’ve Done Everything For You”, a minor hit in “Love Is Alright Tonight”, and a bucketful of non-hit, guitar rock and pop songs.  It was as good as it really got if you liked the Cars, Rockpile, Cheap Trick, The Greg Kihn band, the Knack, the Romantics, Phil Seymour, and Dwight Twilley. Harmonies, guitars, big drums, some 80s keyboards, and songs about love, girls, and heartache. If you turn it up when the guitar power chord solo comes around in the middle of “Jessie’s Girl”, here are 6 songs you will love. He’s at best when guitars dominate in a poppy, rocky, throwback-to-FM-radio hits way. Turn it up SONGS “Love Screws Me Up” “Light This Party Up “ “It’s Always Something”“Bruce” “Kristina” “I Hate Myself” LINKS Hear Spotify playlist: Rick Springfield  /  Six songs you’ll dig if you like “Jessie’s Girl” plus bonus cuts. Read review of Rick Springfield show at Indiana State Fair / 2010 Subscribe to RockPopandRoll: Apple Podcasts Spotify Stitcher Google Podcasts Or wherever you get your podcasts. Find us on twitter at 80srockpoproll Email us – rockpoprollpodcast@gmail.com If you like the show - Share it with someone.  Share it with a fan of 80s pop and rock and roll.  Write in the comments section.  Give us a review.  We thank you. One Last Fact We Learned: “I’ve Done Everything For You” The Working Class Dog rocker first appeared on Sammy Hagar’s 1978 concert album All Night Long before it would be a Top 10 hit for Springfield, a follow up to “Jessie’s Girl.” Springfield wasn’t the first person to consider “I’ve Done Everything For You” as cover material. Hagar says producer Keith Olsen brought it to Springfield after first trying to get Pat Benatar to do the track. They made of a demo of it, but they decided to use their own song, “Heartbreaker. Rick got the song.

Ariane Cap talk about her bass guitar lessons available on TrueFire, performs, and answers questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Ariane:Born and raised in Innsbruck, Austria, Ariane has been musically active since the age of five, playing classical piano and the recorder. She entered the Conservatory of the Land Tirol at age 6, where she studied the piano and the flute until the age of 18. She started playing in local rock, pop and dance bands and picked up the electric bass and soon added the upright. She entered the Academy of Music Vienna in 1996 studying jazz bass and bass education. In 1998, she received a scholarship from the Academy of Music of Vienna in Austria to the University of Miami, where she spent a year in the graduate program on Austrian and US scholarships. She then received a teaching assistantship at the University of South Florida in Tampa, where she received her Graduate Certificate of Music.Ariane has studied with greats such as Victor Wooten, Steve Bailey, Chuck Rainey, Gerald Veasley, Kai Eckhardt, Kenny Werner, and others.Ariane has played in countless bands and projects in Europe and the US, enjoying eclectic styles. She particularly loved playing with bands such as the Mozartband (a fusion of funk, rock and Mozart featuring members of the Viennese Philharmonic), and the Celtic rock band Tempest, who she toured with for three years. Ariane recorded and toured with "kindie-rock" sensation The Sippy Cups, a psychedelic rock circus appealing to kids and their parents alike with jugglers, aerialists, and a rocking show, as well as The Palmwine Boys, who fuse acoustic African Palmwine Music with Americana. Ariane was part of the creation of Cirque du Soleil's adaptation of The Tempest, Amaluna, in Montreal.She is an experienced sideman as well, most recently supporting guitar virtuoso Muriel Anderson and the German flamenco stars Tierra Negra on fretted and fretless basses, or Cabo Jazz pianist Diego Rodriguez and vocalist extraordinaire Daline Jones. She recently recorded with multi Grammy award winning producer Keith Olsen. Current bands include Lara Price's Girls Got the Blues, an all-star female cast of Bay Area musicians including Janice Maxie-Reid, Pam Hawkins and Annie Sampson, as well as the platinum winning band Generation Esmeralda with Jimmy Goings. She plays 80's Rock and adaptations of game music with the band Raj and the Zenmasters.Ariane also performs a solo set featuring a genre bending selection (from Bach via Jazz to African World Music) of originals and covers performed on her effects and looping setup. Her latest project is a duo with Bassoonist Paul Hanson, the OoN Band (Out of Nowhere).The founder of "Step Up Music Vallejo," she is also an educator. She co-conducts bass seminars and rock camps all over the US, teaching along side Steve Bailey, Leo Nocentelli, DJ Logic, Dave LaRue, Carl Verheyen, Walfredo Reyes, and others. She regularly teaches at the Berkeley Jazz School and Workshop, in high demand for her "Pattern system" approach and her creative way of integrating music theory and ear training naturally. In 2014, she was selected by the prestigious Ucross Foundation to participate in an artist in residence program in Ucross, Wymoning. She used this time to write, compose and practice 11 hours a day and more.As a freelancing composer and sound designer, Ariane has turned out music and sound for hand held and online games for Wolf Track Audio, Karney Music, and Sound and Somatone.

Pat and Alexi Lalas discuss Rick Springfield's 1982 release "Success Hasn't Spoiled Me Yet" by going through the album top to bottom and track by track!

Hoje eu relembro a 1ª edição do Festival Internacional de Dança aqui em SP e comento a morte do produtor Keith Olsen. Na parte musical, 3 dos atores do filme La Bamba em suas respectivas carreiras solo nos anos 80! Rudolf Nureyev (maio de 1988) O produtor Keith Olsen nos anos 80 Tracklist The Sandmen - Hate Your WaysThe Truffauts - Between The LinesMatthew Sweet - Children Of Time (Forever)Klique - Another Day Another NightMarshall Crenshaw - Blues Is KingBrian Setzer - Chains Around Your HeartZ-19 - The Night Is Still YoungKen Laszlo - Don't CryMichael Fortunati - Give me UpWarumpi Band - Warumpinya (Rapunya)Casablanca - No Te EscondasSanta Gang - Rock'n'roll Pra Valer Músicas de fundo: YouTube Audio LibrarySilent Partner - Twin ShineMatt Harris - Critter CruiseSPOT SOBRE O COVID-19 GENTILMENTE PRODUZIDO E CEDIDO PELA AbPOD (Associação Brasileira de Podcasters), na voz de Marina Jardim (Podcast de Garagem)        Agradecimentos aos produtores virtuais pelo apoio:Fabiano F. M. Cordeiro Ricardo Bunnyman (AutoRadio Podcast)Tiago Rosas (Kit de Releituras Musicais)Marcos ColuciSeja também um apoiador do 80 WATTS em uma das plataformas abaixo.     This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License

More talk in Season 2Support the show (https://www.patreon.com/davesguitarchannel)

Drummer Mick Fleetwood and guitarists Peter Green and Jeremy Spencer founded one of the greatest rock bands in the entire world in London in 1967. Their roots were primarily as a British blues band. But the lineup we’ve come to know and love featuring Lindsay Buckingham, Christine McVie, and Stevie Nicks, wouldn’t materialize until 1974. This is the deep dive story of Fleetwood Mac: Original guitarist Green decided to keep the guitarists out of the spotlight, and instead name the band after drummer Mick Fleetwood and eventual joining bassist John McVie The first American tour the band ever had saw them third on the bill behind Jethro Tull, and Joe Cocker Before the 70s, founding guitarist Green left the group in a really bizarre manner. He apparently declared money to be evil, gave it all away, and took a job as a gravedigger. Critics suggested that a bad LSD trip may have been to blame for Green’s erratic behavior The other founding guitarist Jeremy Spencer disappeared after leaving the band, having joined a religious cult called the Children of God. When he was found, his head had been completely shaven. The cult apparently stuck with him; he decided to name his 1973 solo album after the cult Buckingham and Nicks played together in a newly formed, critically acclaimed group aptly named Buckingham-Nicks. Their first and only album sold poorly, but their sound opened the door to their joining Fleetwood Mac You see, Mick Fleetwood was searching for former member Bob Welsh’s replacement when he scouted Sound City Studios in Van Nuys, California. The studio owner played him a Buckingham-Nicks song to demonstrate the studio's acoustics. Fleetwood asked about the guitarist, Lindsay Buckingham, saying he came as a package deal with his girlfriend Stevie Nicks and also with studio owner and producer Keith Olsen, who had signed them to a production deal and produced their first album. Fleetwood took that deal, making Olsen a co-producer of the Fleetwood Mac album and recording it at Sound City. Nicks ended up giving the group a distinctive voice and an additional songwriter that helped define their new sound. Olsen was jettisoned after that album and later sued the band for withholding royalties. Mick Fleetwood and John McVie kept the group going throughout the decades and across the myriad changes. Fleetwood says they stuck it out through "abject fear." "That's the nature of being in a rhythm section. You need someone to play with," he told Rolling Stone in 2017. "What the hell would we do if there was no band?" Currently, there is a Fleetwood Mac, but featuring all the original all-star mid-70s lineup, except Lindsay Buckingham, who told CBS Sunday Morning that he wasn’t on the same page as the group, and preferred to concentrate on his solo work

DC chats with Dacota Deaver (Vocals/Guitar), Chance Cochran (Guitar) and Cody Holloway (Drums) of the Fort Worth, Texas-based original project, "The Dacota Deaver Band." DC covers the passing of Keith Olsen, Rock Hitmaker with a broad Rsum, who died at 74. And Bre Akers...DC's "Tipsy Gypsy" was out with a medical thing. Best wishes Bre.

DC chats with Dacota Deaver (Vocals/Guitar), Chance Cochran (Guitar) and Cody Holloway (Drums) of the Fort Worth, Texas-based original project, "The Dacota Deaver Band." DC covers the passing of Keith Olsen, Rock Hitmaker with a broad Rsum, who died at 74. And Bre Akers...DC's "Tipsy Gypsy" was out with a medical thing. Best wishes Bre.

This BONUS excerpt was taken from the full in bloom interview with RATT producer / engineer Beau Hill. Listen to the 'Invasion of Your Privacy' episode @ fullinbloom.com. Also make sure to listen to PART I, covering RATT's debut album, 'Out of the Cellar.' Hit the subscribe button to be notified when new excerpts have been added. Full-length episodes @ fullinbloom.com/category/podcast Song by FOOL OF FATE RIP Keith Olsen

Esta semana hemos perdido sa uno de los grandes productores, uno de esos únicos. Keith Olsen moría hace unos días y desde el diamantes queríamos rendirle homenaje como los grandes merecen. Es por eso que hemos metido un buen puñado de clásicos extraídos de Álbumes en los que Keith impuso su magia. Temas clásicos que hemos ido interpolando con alguna que otra novedad, como el nuevo de H.E.A.T, Harem Scarem o The Night Fligh Orchestra. Así que, preparaos para una sesión muy revival!!

Esta semana hemos perdido sa uno de los grandes productores, uno de esos únicos. Keith Olsen moría hace unos días y desde el diamantes queríamos rendirle homenaje como los grandes merecen. Es por eso que hemos metido un buen puñado de clásicos extraídos de Álbumes en los que Keith impuso su magia. Temas clásicos que hemos ido interpolando con alguna que otra novedad, como el nuevo de H.E.A.T, Harem Scarem o The Night Fligh Orchestra. Así que, preparaos para una sesión muy revival!!

Live from Metro Connect, we are excited to welcome Keith Olsen, Chairman and CEO, of vXchnge, the leading data center-as-a-service provider dedicated to protecting global and emerging brands, while improving the business performance of its customers. Through its strategically sited, carrier-neutral colocation data centers across the US, vXchnge delivers unmatched reliability, scalability and security for its customers. vXchnge’s broad geographic footprint puts its customers at “the Edge”, where they can serve customers locally, and reach more businesses and more consumers in more markets.For more information, visit http://www.vxchnge.com.SUBSCRIBE to JaymieScottoTV for the latest Telecom News: https://www.youtube.com/JaymieScottoTV HOMEPAGE: http://www.jsa.net LIKE JaymieScottoTV on FACEBOOK: https://www.facebook.com/JaymieScotto...FOLLOW JaymieScottoTV on TWITTER: https://twitter.com/jsatv

I'm joined by guest Phil Stacey as we discuss the Grateful Dead's 1977 album Terrapin Station. Show notes: - Recorded at CompCon world HQ - The Dead's 9th studio album - Band had signed with Clive Davis and Arista - Album was produced by Keith Olsen, later known for slick AOR albums by Eddie Money, Rick Springfield, REO Speedwagon, Heart - Phil: Would get a tattoo of the Terrapin cover - Cover of "Dancing in the Streets" is pretty lame - Live, the cover turns into a long jam (duh) - Donna Godchaux was featured a lot on this record - Side 2 is an side-long suite written by Hunter and Garcia - Band didn't tour for this album after Mickey Hart got in a car accident - The tour before this album was legendary for Dead fans - Tried songs out live before they made it to studio recordings - Side 1 closes out with a Donna G. song that sounds nothing like anything else the Dead has done - The Godchaux marriage was splitting up while they were in the band - Olsen erased Hart's drums on one song and replaced them with strings - Lyrics on Terrapin Station are pretty dense - Relatively short album for the Dead at 35 minutes - Phil: These songs got better in the live setting - Jay: A lot of filler on side 2 - Album feels like a contractual obligation - Dead & Co. plays part of the title suite now - Phil: Not a John Mayer fan, but he's a good guitarist - Jay: Not a fan of this album - Next: Cornell 5/8/77 Completely Conspicuous is available through Apple Podcasts and anywhere else you get podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

My guest today is Tim Dolbear who cut his musical teeth playing live with people such as Sammy Hagar, and in the studio with his mentor, producer Keith Olsen. Currently, he works with both labels and independent artists, and receives projects from all over the world. Since 1999, He has owned and operated Eclectica Studios, originally located in Los Angeles, operations were moved to Austin TX in 2006. In 2019 Eclectica Studios moved to its current location in Nashville. Tim is a guest lecturer for audio production at many colleges throughout N America including Blackbird Academy, NYU and SAE. Tim is also a published writer who writes for MIX, Sound on Sound, and Professional Sound Magazine.   I met Tim recently through Mark Rubel at Blackbird Academy. So thanks again Mark!   Thanks to our sponsors! OWC - Other World Computing: https://www.OWC.com JZ Microphones - https://usashop.jzmic.com/ use coupon: ROCKSTAR at checkout for 50% off JZ vintage series microphones. RSR Academy: http://RSRockstars.com/Academy Want to learn more about mixing? Get Free mix training with Lij at: http://MixMasterBundle.com Hear more on Youtube If you love the podcast then please Leave a review on iTunes here CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/207

Keith Olsen is a Grammy-winning record producer and sound engineer who has worked with Rick Springfield, Fleetwood Mac, Ozzy Osbourne, the Grateful Dead, Whitesnake, Pat Benatar, Heart, Santana, Saga, Foreigner, Magnum, Journey, Emerson, Lake Palmer, Joe Walsh, as well as Eric Burdon The Animals, among others.

This show airs Live at 7 pm - 8 pm CST and 8 pm - 9 pm EST. Welcome to the Soul Inspiration Radio Show with your Host Christine "Key of C" and tonight's special guest the incomparable Mr. Charlie Farren! Charlie FARREN has long been known for great songs, great singing, and for outstanding live solo acoustic performances.Charlie FARREN emerged onto the national scene in the early '80s as lead singer and guitarist with THE JOE PERRY PROJECTIn 1986 Charlie, along with Dave Hull (Joe Perry Project) and John Muzzy, formed FARRENHEIT and released a self-titled debut album on Warner Brothers, produced by Keith Olsen. Now working on what will be his 17th CD, Charlie has been described as contagious, displaying a candor rarely demonstrated by former arena rock stars. “It's clear he has not lost the ability to captivate a room full of people no matter what the size,” writes Tom Dempsey of SoundCheck magazine. His live solo performances remain the perfect forum for his remarkable talents.  The opinions expressed during this radio broadcast are for inspiration, information and entertainment purposes only. This show is a production of Atlanta Life Radio and to learn more visit us at www.atlantaliferadio.com  

Grammy-winning record producer and sound engineer, Keith Olsen takes us through his career. He covers his early days at Sound City, his role in the creation of Fleetwood Mac, what it's like to be in the studio with the Grateful Dead, Whitesnake and Lynch Mob.

Join us this week as we welcome back the California rock band that is Masque. Band members Tony Kelly, guitarist Kevin James, bassist Bruff Brigham and drummer Scotty Kormos are bringing their explosive new live show on tour for the first time in over twenty-five years. Masque burst onto the 80s Hollywood glam rock music scene and quickly became one of LA's most popular bands. Fueled by social media exposure, the band experienced a major resurgence in popularity with fans around the world. Renewed popularity led to a Masque reunion in 2010 to record the song and film the video for “Body Mind & Soul” directed by Mark Jacobs for Zzyzx Films. We will catch up on all the latest with MASQUE, get a behind the scenes look at their music, feature songs from their brand new EP produced by the multi platinum producer Keith Olsen, and ask them to share their message to the troops. Please be sure to visit Masque at http://masqueband.com/ and spread the word. Fans are welcome to call in and chat live with Masque during the show. If you would like to participate in the live chat during the show, you must sign up on the show site first and then log in during the show. More great music for a really great cause! And as always we will give shout outs to our deployed military listeners. Be sure to join us, Sunday September 23rd 2012 at 4:00 PM EST! Our message to the troops....WE do what we do, because YOU do what you do.