Podcast appearances and mentions of larry ramos

¡#NinelConde HABLA de la ESTAFA y su RELACIÓN con #LarryRamos en famoso reality! Además, REVELÓ que planeó su escape para volverse PRÓFUGO de la justiciaSee omnystudio.com/listener for privacy information.

¡#NinelConde habla sobre la PESADILLA que vivió con #LarryRamos! Por otro lado, #ChristianNodal es CRITICADO por aparecer BORRACHO durante un concierto en #Jalisco e #IvonneMontero APOYARÁ a #OliviaCollins en el FAMOSO reality! ¡No te pierdas de esta y más NOTICIAS del ESPECTÁCULO con los #PájarosEnElAlambre este 31/07/2025!See omnystudio.com/listener for privacy information.

En la casa de los famosos, Ninel Conde dice que no vio cuando Larry Ramos escapabaLucero dice que está harta de los chismes sobre su familiaPreocupa la salud de uno de los hijos de Ricky Martin 

Hello, kamusta and mabuhay to our Filipino friends around the globe! All Time Top Ten prides itself on bringing the most musical variety possible, and here's a fun and educational example. Some of the most heralded and under-heralded musical talents either come from the Philippines or have Filipino blood. Luckily ATTT has in our midst two actual Filipino rock stars and we couldn't be more delighted to welcome Severo aka Tha Thrilla From Manila, and All Time Top Ten newcomer Walter Ino to help us count down the greatest Filipino Rock Stars ever. Severo and Walter take over the show and reveal their 10-6 picks here in Part 1. Follow these guys on social media to keep up with all the cool rock star stuff they're doing:Severo on Facebook:https://www.facebook.com/profile.php?id=100041047914874Walter on Instagram:https://www.instagram.com/wawasmusic/We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. Volume 17 dropped on July 1st and guess who! Paul & Elizabeth Eisen were in LA to co-host. Good times! Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295

En esta entrevista Ninel Conde nos cuenta cómo fue ser mamá a los 20 años, si entrará a La Casa De Los Famosos, cómo vivió violencia física y psicológicamente con un ex esposo, que a Daniel Bisogno se le ocurrió decir lo del surimi, cómo su mamá le dijo que no demandara al padre de su hija, la verdad detrás del escándalo con Larry Ramos, y cómo no sabía estar sola.  

¡#NinelConde ROMPE EL SILENCIO sobre su EX, #LarryRamos, quien continúa PR0FUG0! ¡#LucíaMéndez estuvo al BORDE de la MUERT3 por COVID! Estuvo hospitalizada ¡Eduardo Yáñez DESCARTA una RECONCILIACIÓN con su hijo! Esto y más en el programa completo de #DePrimeraManoSee omnystudio.com/listener for privacy information.

Alejandra Guzmán asegura Ninel Conde sabe dónde se esconde Larry Ramos  See omnystudio.com/listener for privacy information.

Cinthia Velarde CONTINÚA esperando Justicia tras el FRAUDE de Larry RamosSee omnystudio.com/listener for privacy information.

- Hoy 09 de Octubre de 2023 con ELISA BERISTAIN y JAVIER CERIANI en Chisme No Like

For decades now, Kathy Castner and her cousin, Charlie Bowen, sing duets whenever they have one of those rare chances to be together. Their musical connection goes back a long way.As a child, Kathy regularly was brought to visit relatives in Ashland. Whenever she was, their grandmother usually assigned her cousin to sing her to sleep at bedtime. (Yes, Grandma Robertson was prescient about Bowen's mad skills for putting audiences to sleep.) One of the tune the young troubadour brought to bear on the little girl's eyelids was this New Christy Minstrels classic, a song that still gets regular airplay on Top 40 radio.About the Song“Today” is a 1964 folk song written for the Minstrels by the group's founder, Randy Sparks. And thereby hangs a tale. Sparks formed that large-ensemble folk group in 1961 and with it quickly scored two hit in 1963 (“Green, Green” and “Saturday Night”). However, by 1964 creative tension within the organization prompted Sparks' decision to leave. But before quitting the group, whose name he sold to its managers, Sparks had one more project for the Christys; he was contracted to write the score for a film comedy called Advance to the Rear, and that work was to include his composing of “Today.”Rocky Start to Stardom“Today” — which critic Bruce Eder calls "achingly beautiful” and which became the second biggest hit of the Christys' long career — fell flat on its introduction to the group. Legend has it that Sparks sang it for the bunch of them just days after he finished it, and nobody said a word. Absolute silence.Finally, banjoist Larry Ramos reportedly spoke up. "I think I can speak for everyone here ... it's a piece of sh—, the same sh— you always write!" "Is that how the rest of you feel too?" Sparks asked. More silence. "Well,” he said finally, “you'd best get used to it, because you're going to sing it anyway." The song didn't get any respect from the record company, either. Columbia Records veep Bill Gallagher reportedly hated it. However, the public, with dimes and dollars, vetoed all those objections. The Minstrels' recording of “Today” became a nationwide hit in under six weeks. And the Christys' “Today” album — simultaneously released as a soundtrack album for the movie — made the year's Top Ten on the LP charts, the group's highest charting album ever. A loud “so there!” could be heard from the Sparks house.Our Take on the TuneThese days, whenever Kathy comes to Huntington from her Cincinnati home (usually at Christmastime and again sometime during the summer), she almost always has an evening of music with The Flood, and “Today” usually is among the songs shared.Here's the latest rendition from last week's jam, with sweet solos by Dan Cox, Veezy Coffman and Sam St. Clair and with Randy Hamilton joining Kathy and Charlie on the harmonies. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Hey y'all. Dan Ramos here. YES. IT'S BEEN A WHILE. Hope you enjoy this random Thanksgiving Eve episode. *Go watch PHANTOM PUPS on NETFLIX if you want to see me in action https://www.netflix.com/phantompups IG/TWITTER/TIKTOK/YT @danramoscomedy Go listen to anything #larryramos has ever CREATED https://www.youtube.com/watch?v=6k7DilARXfg Go check out every single movie Mark Irwin ASC.CSC has ever shot. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ramostories/message

Kenia Ontiveros, la esposa de Larry Ramos, imitó en un video a Kimberly Flores llevándose la propina de un restaurante. Mira el video

Las víctimas de la expareja de Ninel Conde, entre ellas Alejandra Guzmán,  exigen justicia. Incluso, la propia rockera demandó a las víctimas para tratar de recuperar su dinero y armó la controversia. Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca.

Fue en septiembre de 2021 que #LarryRamos se fugó tras ser acusado de fraude y sin devolver un solo dólar del dinero que robó ¿Cuál es su paradero y dónde está todo ese dinero?

-Cómo va el caso de Héctor Parra -Ricardo Montaner llama boludos a quiene comentan sus fotos -Gaby Spanic estrena cuerpatzo! -León Krauze le hace la barba a Jorge Ramos -Piden cancelar a Tattis Beauty -Michel Rodríguez pide más cuidado para poder trabajar -Casa de Pamela Silva -Jhony Caz y su novio estrenan casa -Mitzy no tiene miedo de nada -Mas pruebas en contra de Andra Espada the Royalty Family -Orianny gana en contra de Larry Ramos

La presentadora peruana Laura Bozzo reapareció y rompió el silencio a través de sus redes sociales, en un video en el que reveló su ubicación actual y además se refirió a sus líos judiciales por presunta evasión fiscal en México. La señorita Laura también afirmó que va  a demostrar su inocencia con pruebas. Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca.

Estos actores, productores y empresarios han sido los escogidos por algunas mexicanas para relacionarse sentimentalmente. El encanto, el carisma y la belleza de las mexicanas hace que estos hombres sean los más afortunados.Además, te contamos que Alejandra Guzmán desmiente que quiera demandar a su hija Frida Sofía.Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca.

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-MEDIO MILLÓN DE GRACIAS! -ACTUALIZACIÓN LAURA BOZZO ENRIQUE DE LA ROSA // EN VIVO -GABRIEL SOTO E IRINA EN EL JUZGADO -CONCIERTOS EN LAS VEGAS -ALEJANDRA GUZMÁN DA LA CARA -LA UIF TRAS GLORIA TREVI -GUSTAVO ADOLFO RESPONDE A LAURA ZAPATA -Y LAS REGALÍAS DE JOSÉ JOSÉ? MAYER LAS TIENE? -ADRIANA ARBELAEZ HABLA DEL ADN DE MANUEL JOSÉ -LA VIDA ESCANDALOS DE LOS ÁLVAREZ PUGA -SANTERO DE INÉS GÓMEZ MONT Y GALILEA -ENCONTRADO LARRY RAMOS! -LAS MUJERES DE LA MAFIA

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Ah caray... Sergio Mayer tuvo que ser hospitalizado de Emergencia, Ninel Conde no le va bien en sus eventos... Larry Ramos sigue prófugo...Michael Kemper se va contra Christian Chavez... Integrante de Kabbah ahora es política... Mentiras el Musical vuelve pero no con Morris... Nodal y Belinda nunca terminaron... y mucho más

¿Dónde está Larry Ramos? El esposo de Ninel Conde ya va para dos semanas como prófugo de la justicia y aún no lo encuentran. La que sí se dejó ver en público fue ‘El Bom Bon asesino' de regreso a los escenarios pero… ¿Habló sobre su marido?Las cosas para Ramos no parecen mejorar, pues su ex socio y demandante Norlan Moncada está ofreciendo una recompensa de 100.000 dólares para quién dé alguna pista al FBI para su la recaptura del esposo de Ninel Conde.La pregunta que todos se hacen al día de hoy es: ¿Dónde está Larry Ramos?Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca.

Bienvenidex a la segunda temporada de Trufas Blancas! En este programa tenemos como invitada a Zory y más, dándonos tips para un delineado de ojos increíble, Andrea Meza en campaña contra el acoso a las mujeres, Ricardo González "Rix", agresor de Nath Campos, queda libre, Elisa Vicedo anuncia que ya no puede seguir con la denuncia contra Eduardo Carabajal, Daniela Berriel detenida en el aeropuerto de la CDMX, giran orden de aprehensión contra Inés Gómez Mont y su esposo Víctor Álvarez Puga y para fionalizar Ninel Conde metida hasta las manitas en los negocios turbios de Larry Ramos. --- Support this podcast: https://anchor.fm/lascomadresdelrio/support

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Además hablamos de Laura Bozzo, Pepillo Origel, Daniel Arenas, Daniela Álvarez, Ninel Conde, Larry Ramos, Los Bukis, Marco Antonio Solís y muchos más.

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A más de una semana de la fuga de Larry Ramos, las pertenencias de Ninel Conde y del prófugo  de la justicia fueron desalojadas del condominio en Miami.Según algunas fuentes, la administración del condominio no habría recibido el pago correspondiente del apartamento donde Ramos se dio al escape.También, te contamos los escándalos de Daymar Mora, la nueva novia del cantante venezolano Chyno Miranda, quien recientemente se divorció de su esposa.Además, Alejandra Guzmán nos cuenta detalles de su primer desnudo en televisión.Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca. 

Un fuerte sismo de magnitud 7.1 sacudió varias zonas de México la noche de este martes y activó una alerta de tsunami. Las autoridades advierten de más réplicas para las próximas horas.En Estados Unidos, Joe Biden recorrió el martes las zonas del noreste que sufrieron los embates del huracán Ida y dijo que pensaba en las familias que sufrieron “profundas” pérdidas.En noticias del entretenimiento, luego que se diera a conocer que el novio de Ninel Conde se dio a la fuga del arresto domiciliario en que estaba, por fin la actriz rompe el silencio sobre Larry Ramos.Entérate de esto y más en este episodio de MundoNOW y no olvides calificarnos y dejarnos una reseña. Tu opinión es muy valiosa para nosotros.

En el primer episodio de esta semana les cuento todo lo que cualquier amante del chisme quiere saber: - Santos Laguna muy seguro de si mismo demanda a la gran compañía Disney, pero la empresa de Micky Mouse no se queda atrás y también los contra demanda ¿qué pasará? - ABBA regresa luego de 40 años de ausencia. - Ninel Conde ¿ayudó a Larry Ramos a escapar? - Enrique Iglesias se despide de la música - Sergio mayer es demandado por tráfico de influencias, ¿por? - Captan a Kendall Jenner con el Canelo Álvarez ¿nuevo romance?

Un fuerte sismo de magnitud 7.1 sacudió varias zonas de México la noche de este martes y activó una alerta de tsunami. Las autoridades advierten de más réplicas para las próximas horas. En Estados Unidos, Joe Biden recorrió el martes las zonas del noreste que sufrieron los embates del huracán Ida y dijo que pensaba en las familias que sufrieron “profundas” pérdidas. En noticias del entretenimiento, luego que se diera a conocer que el novio de Ninel Conde se dio a la fuga del arresto domiciliario en que estaba, por fin la actriz rompe el silencio sobre Larry Ramos. Entérate de esto y más en este episodio de MundoNOW y no olvides calificarnos y dejarnos una reseña. Tu opinión es muy valiosa para nosotros. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

En este episodio te contamos que está pasando con Sergio Mayer, además hablamos sobre el trailer de SpiderMan, te decimos el motivo por el cual vetaron a Armie Hammer de Hollywood... y en la parte de recomendaciones hablamos sobre Cenicienta (Amazon Prime Video), Nathan's vuelve a México... ¡Ah! Pero no podemos dejar de lado que nos quieren matar a Chente Fernández, Ninel Conde se quiere hacer la inocente, y Larry Ramos... ¡Quién sabe donde está! Todo eso y más en este episodio.

Bienvenidex a Trufas Blancas! En este programa hablamos sobre el gracioso video de Poncho de Nigris con su hijo, las dificultades del lenguaje incluyente, toda la historia de Meghan Markle para llegar a la realeza, el acoso en redes al Dr. Giordano Espinosa, desaparece Larry Ramos, esposo de Ninel Conde, abogado y ex abogado de Héctor N denuncian a Sergio Mayer por tráfico de influencias, Andrés García reclama sus regalías a la ANDI y hoy para terminar cerramos todos los temas. --- Support this podcast: https://anchor.fm/lascomadresdelrio/support

¡Con la casa llena! Así regresó Banda MS a los escenarios, y fue nada más y nada menos que en el Madison Square Garden. Según sus integrantes, el concierto de este fin de semana superó todas las expectativas y estuvieron con la gran compañía de la cantante Natalia Jiménez.Sin embargo, también confesaron que tuvieron siempre un temor: ¿Quieres saber cuál fue? ¡Lo puedes escuchar ya en el podcast!También le hacemos el seguimiento al novelón de la fuga de Larry Ramos. Según una revista mexicana, Ramos quería que Ninel Conde se fugará junto a él. Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca.

Muchos de los famosos como Kate del Castillo, Meghan Markle y el príncipe Harry no solo se quedan con los ingresos que tienen por sus actividades como artistas o celebridades, la mayoría de ellos deciden emprender negocios, que en tiempos de coronavirus se convierten en unos ingresos vitales.También, te chismeamos sobre aquellas parejas que del amor eterno, pasaron a los juzgados y al olvido extremo.Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca. 

Todo estaba listo para que el boxeador retirado hiciera su regreso triunfal a los cuadriláteros este 11 de septiembre en el Staples Center de Los Ángeles. Sin embargo, el ‘golden boy' anunció este viernes desde sus redes sociales que dio positivo a covid-19, aún estando vacunado.Visiblemente afectado, de la Hoya tuvo que cancelar su pelea frente al artemarcialista Vítor Belfort. Ahora el boxeador deberá dar una batalla más significativa por su salud.Además, le hacemos seguimiento a la fuga de Larry Ramos que tiene en vilo a la justicia y a la farándula internacional.Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca.

El mejor resumen de los espectáculos con Maritza Baltazar, donde platicamos de Larry Ramos que ESCAPA de arresto domiciliario. Se rumora que Sergio Mayer podría pasar de 2 a 5 años en PRISIÓN por demanda de tráfico de influencias. La agrupación ABBA se REENCUENTRA para complacer a todos sus fans tras 39 años de su disolución. Además Alejandro Fernández que está listo para su presentación por el grito de independencia en Las Vegas; y comentó que este mes ha sido muy complicado por todo el tema de salud de su papá Vicente Fernández, que no sólo ha sido su padre, sino un maestro en el ámbito profesional. También Miguel Bosé sufre tras enterarse lo que su compañero y amigo Toño Mauri pasó durante su contagio por COVID_19; el actor mexicano lo invita a vacunarse.

14 distritos escolares exigirán a jóvenes mayores de 12 años, que tienen que estar vacunados para octubre y asistir presencialmente a las aulas de clase.Edwin Caz, anda bien atolondrado porque afirma que le hicieron brujería, debido a la mala racha de su última gira.Se Armó La Bronca: Larry Ramos se da a la fuga del bote y telefoneó a  Ninel para saber cómo está.En nuestras Notas Locas Pero Ciertas: Una vaca se queda atorada en un árbol, después de las tormentas en Luisana.

Más de 24 horas han pasado desde que Larry Ramos, pareja de la artista mexicana Ninel Conde, decidiera quitarse el grillete y fugarse de su detención domiciliaria en Miami.Son muchas las hipótesis de los expertos que apuntan a que Ramos no habría emprendido la fuga sin ayuda, en dicho caso, las autoridades que hemos consultado han sido enfáticas en afirmar que si descubren que Ramos recibió ayuda, esas personas podrían ser castigadas por la ley.    Ramos fue detenido con casa por cárcel por presuntamente haber defraudado a través de esquemas piramidales a varias personas en Estados Unidos, según investigaciones del FBI.Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca. 

Larry Ramos se quitó el grillete y se da a la fuga, ya es buscado por el FBI

¡Súper jueves para platicar sobre el dinero y nuestro bolsillo! Muchos de los que vivimos en Estados Unidos ayudamos a nuestras familias en nuestros países de origen. ¿Cómo te va con el envío de remesa? ¿Te queda muy difícil ayudar a tu familia? ¿Tu familia es agradecida cuando recibe la ayuda o te exige más?También platicamos sobre la economía con tu de pareja ¿Comparten los gastos o te toca como el llanero solitario? ¡Escucha ya este nuevo episodio del Podcast del Show de Raul Brindis!  

Testigos aseguran haber visto este miércoles a Larry Ramos quitarse el grillete, salir corriendo y emprender su fuga de las autoridades estadounidenses en Miami.El esposo de la famosa cantante mexicana fue detenido con casa por cárcel por presuntamente haber defraudado a través de esquemas piramidales a varias personas en Estados Unidos, según investigaciones del FBI.¿Cuáles fueron las presuntas razones para que el empresario de origen colombiano emprendiera su supuesta fuga? ¿Cuál es el mayor temor de Ninel Conde frente a este caso?Este y otros chismes te los contamos en el podcast más chismoso e informado de la farándula: El Gordo y La Flaca. 

-ALEX LORA 50 AÑOS -CELIA LORA EN LA CASA DE LOS FAMOSOS -DAVID ZEPEDA Y NICANDRO DÍAZ NUEVO PROYECTO -LA ENTREVISTA A JOSÉ MONCADA -JOSÉ MONCADA DEMANDADO -ABOGADA SANDRA HOYOS // EN VIVO -NINEL IGNORA ALERTAS -DEMANDA PAULINA RUBIO -CHYNO MIRANDA FUMA DE NUEVO -LAURA BOZZO RECIBE REGALOS DE GOBER -CARLOS BENAVIDES DEFIENDE A LAURA BOZZO -HÉCTOR DE MAULEÓN GANA A FAMILIA DE JOAN SEBASTIAN -HIJA DE MAYELI BEBE EN FIESTA -SOFÍA CASTRO DE FIESTA EN CANNES

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I Got You Babe" by Sonny and Cher. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

-DE NIGRIS ODI4DO POR GUAPO! -PAMELA SILVA EMBARAZADA? -LUIS MIGUEL HOSPITALIZADO? -LA VENENOSA NO ENTRA EN LA FAJA -TONI COSTA Y ADAMARI EN ITALIA -AUDIOS DE LARRY RAMOS QUE LO UNDEN MÁS -BÁRBARA DE REGIL CLASISTA -CASO DANIELA BERRIEL

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What's the word this week kids? LEVEL WITH ME PODCAST!!! Wait a sec, that's four words!?! How dare you! This podcast is over!!! ... ... ... WAIT, come back it was a goof! Welcome to Level With Me podcast, Corey & Mike are back at it with another wonderful week of video games and car problems! We also have another installment of quarantine cast! Corey is feeling better after a week, he also enjoys a good meat patty and or meat tube every once and a while. Mike is also really sick of his car farting and his job beating him to a pulp. In more cheerful news, let's get to our first segment of talking some video game news!!! YAAAAAAAY!!! We begin with... Logan Paul wearing a $150,000 Charizard card, Among-Us chicken McNugget sold for $100,000, E3 2021 Press Conference Line-Up reveal and much MUCH more!!! We than move onto our second segment where we talk about what we've watching and playing! Mike kicks it off talking about his favorite hobby, WORK!!! He did have some time to continue watching Castlevania and is already up to season 3! Corey than takes the mic to talk about NOT WORK! Corey finished Invincible, watched Raya and The Last Dragon, Monster Hunter Rise, Fortnite and his return to Call of Duty, Warzone and Black Ops Cold War! Thank you to causewayben, thegamecubepod, day back in, owen_reis, death1collector for responding to this weeks question! Everyone please go check out their Instagrams and give them a follow. If you'd like a shout-out yourself, just go folllow Level With Me Podcast on Instagram and answer the weekly question! Got any questions for your lovely hosts? Want a free shout out??? Feel free to send us an email and we'd gladly answer on the pod! Email us @ levelwithmepodcast@gmail.com Or check both our Instagrams to directly submit question! You can follow GameBroCorey and Mike personally! Find GameBroCorey on Twitch, Instagram and Twitter @GameBroCorey and Mike on YouTube, Twitter and Instagram @ the_collectors_vault1 Check out Larry Ramos' channel for more cool vlog videos! Just search Larry Ramos on YouTube and hit dat SUB!!!

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Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul".  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show.  But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes.  But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course.  For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap".  But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime.  The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of  the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used.  Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US.  In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him.  Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot.  So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK.  But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists. 

Azalia Ojeda al bote por querer cambiar cheques robados, Además hablamos de Ninel Conde no le paga a sus maquillistas y peinadoras, Larry Ramos, Lupillo Rivera, Natanael Cano, Alejandro Fernández, Snoop Doog. Y lo que pasó esta semana en Las Estrellas bailan en Hoy.

Bienvenidex a Trufas Blancas! En este programa hablamos las entrevistas de Yordi Rosado con Andrés García y Benny, y las revelaciones de Benny sobre los Timbiriches, la entrevista a Cecilia Gabriela con Mara Patricia, Larry Ramos, las excentricidades de Ninel Conde y la menospreciación a las mujeres que aparecen en la serie de Luis Miguel. --- Support this podcast: https://anchor.fm/lascomadresdelrio/support

-MODA EN LOS OSCARS -POST NOVIO DE BISOGNO -ALEIDA NUÑEZ -J BALVIN -MIKE TOWERS -CAMPAÑA DE ALFREDO ADAME -GANADORES DE ECOLOGICA GIVEAWAY -MAMÁ DE LARRY RAMOS -LUCÍA MENDEZ Y LUIS MIGUEL -LUIS MIGUEL NIEGA A MICHELLE -ALEJANDRO BASTERI

Samuel García, Mariana Rodríguez, su papá y su suegro están siendo investigados por manejos sospechosos de dinero que implican lavado y empresas fantasmas. Zac Efron nos dejó pasmados a todos con su nuevo aspecto, ¿qué le paso?. Lista completa de los ganadores al Oscar 2021. Detiene el FBI a Larry Ramos, pareja de Ninel Conde y ella hace lo inimaginable! Shakira podría ir a la cárcel este 8 de Julio si no se pone lista con el SAT de España.

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Bienvenidex a Trufas Blancas! En este programa hablamos del nuevo video del Gordo de Molina con Lucía Mendez, Ninel Conde, Larry Ramos, Giovanni Medina. Alejandra Guzmán y Chisme No Like. --- Support this podcast: https://anchor.fm/lascomadresdelrio/support

Además las reacciones de Ninel Conde a la detención de Larry Ramos.

Larry Ramos, fue cachado por el FBI  y le tocó bajarse de su buena lana para su fianza y Ninel por ningún lado. ¿Dónde se encontraba la artista en este momento difícil del músico?¿Qué hacer si tus hijos han sufrido de abuso sexual? El doctor Cesar Lozano aborda este tema tan doloroso para muchos padres de familia, con unos consejos importantes para abordar esta situación.En GirlsTalk, tenemos a Violeta, pidiendo orientación sobre la relación que tiene con un hombre con quién se va a casar y él no sabe que la señora tiene sus bendiciones.Presionan desde el senado al presidente Biden, para que emita un cuarto cheque de estímulo. Aquí te contamos en que va el trámite.

Lo que hace una madre por sus hijos. Este es el caso de la morra que llegó al extremo para que su hija, entrara a las porristas de la escuela.¿Eres un hombre digno de protagonizar un capitulo de la Rosa de Guadalupe? pues la maestra Ronca te va amansar a chicote, con estos consejos para dejar el drama y disfrutar la vida.¿Cuál ha sido el peor castigo durante la secundaria? La Bronquita y el pitufo reflexionan sobre esas épocas, unas divertidas otras amargas, como este caso de abuso escolar de una profesora en Arkansas.Larry Ramos resultó gato piojón y guilty de los cargos que se le imputaron y a que no adivinan la suma que debe devolver a las víctimas.Estos y otros temas de interés con los anfitriones más divertidos, en el podcast de el Free-Guey Show. 

Lady Gaga busca a sus perritos, manager de Alejandra Guzmán revela los tratos de Larry Ramos. Verónica Castro al natural, escuchamos a Nicolás el hijo de Erika Buenfil, Rix va preso y Aylín Mujica se lleva pero no se aguanta #LadyGaga​ #ErikaBuenfil​ #AlejandraGuzman​ #LarryRamos​ #VeronicaCastro​ #AylinMujica​ #Rix​ #NathCampos​ #LavandoDeNoche​ #live​ #Facebook​ #Rix​ #GustavoAdolfoInfante​ #imagen​ #heraldo​ #Losangeles​ #Televisa​ #bebe​ #mexico​ #musica​ #famosa​ #wedingplaner​ #ultimahora​ #famoso​ #faceboiklive​ #EnVivo​ #showbiztv​ #showbiztalent​ #informacionveraz​ #Martes​ #informaciónsinlimites​ #instantshowbiz​ #showbizz​ #informaciónespoder​ #informacion​ #showbizlife​ #adictaalchisme​ #showbiz adicta al chisme, showbiz, dog walker, dogs, mascotas, perros, perritos, perrhijos, Nicolas Buenfil, TikTok, reina del Tiktok, Ninel Conde, Abogados, representante, entrevista, Juan Jose, pepillo, origel, ceriani, vacuna, Miami, Chisme no like, CDMX, Mxli, Mexicali, Huguitu, Candedo, Marichuy, Hilda Isa, ildaisa --- Send in a voice message: https://anchor.fm/lavando-de-noche/message

Hoy en el programa: · La historia de la canción “Y como es el”. · La canción de Gaston sobre lo dicho en el programa “Suelta La Sopa”, ¡Ninel Conde y su prometido Larry Ramos se casan hoy en la Ciudad de México! Aquí su parodia, grabada sobre la canción “Lo Dijo El Cura” de Joan Sebastian. · Jorge Lozano H presento “Hábitos molestos de parejas modernas”. · La editorial de Michelle Rivera sobre el abuelo “abusador”. · El significado de soñar en el mar. · En maneras geniales hablamos de lo que sucede cuando comemos mucha comida chatarra. · En infórmate y aliviánate hablamos de las consecuencias de alimentar mal a nuestros hijos. · En más que curioso hablamos de lo que paso en Manchester City. --- Send in a voice message: https://anchor.fm/alexelgeniolucas/message Learn more about your ad-choices at https://www.iheartpodcastnetwork.com