Podcasts about Lee Hazlewood

Hey everyone...in honor of Julie Klausner coming to Portland to do Revolutions Per Movie Live on July 5th 2025, I'm re-releasing my incredible conversation with Julie about the Nancy Sinatra TV Special Moving With Nancy (Episode 5 which originally aired on Oct. 12th, 2023).This episode should get everyone excited to come out to see us at the Clinton St. Theater where we will be watching and discussing the Rachel Welch wild-ass musical special Rachel! which Julie goes into a bit during our original discussion in this episode. Julie will also be putting together a series of unique, mind-altering videos just for this event only too...and maybe we'll shower you all with RC Cola...you never know!!!Come escape the 4th of July weekend with us...see you soon!Tickets for Revolutions Per Movie Live with Julie Klausner are available here:https://cstpdx.com/event/revolutions-per-movie-live-with-julie-klausner/The original podcast show notes:This week, we talked to actor/writer/musician Julie Klausner (Hulu's ‘Difficult People, Double Threat Podcast, ‘I Don't Care About Your Band') about Nancy Sinatra's 1967 TV Special ‘Movin' With Nancy.' We obsess over Nancy's dedication to the art of her lip-syncs, the magic of her partnership with Lee Hazlewood, how the special is also an unintentional horror movie & why Ringo Starr, Throbbing Gristle & Davy Jones would have been perfect duet partners with Nancy.So pour yourself a goblet of that mad, mad, mad, mad cola and take the passenger seat straight into heaven on this week's episode of Revolutions Per Movie. Hosted on Acast. See acast.com/privacy for more information.

Justin and Bec put on their sombreros, pour margaritas and head South of the border for an exploration of the January 1963 movie soundtrack sessions that gave us the "Fun in Acapulco" album. With its unusual genre stylings that evoked more Latin-flavored stylings, traditional Mexican songs and the whole Acapulco nightclub destination scene of the early 1960s, "Fun in Acapulco" offered Elvis Presley a chance to dabbled in the types of songs he might never have otherwise done but takes the challenge head on, such as "Guadalajara," "Marguerita" and "Vino, Dinero Y Amor." Of course, while they touch on the iconic "Bossa Nova Baby," a cover of a Leiber/Stoller-penned hit originally for The Clovers, and ponder what on earth happened to "Mexico" on the original album, the duo also briefly glimpse the extensive careers of some of the unique musicians who helped Elvis nail the tone (such as The Four Amigos), as well discuss a few ways Fun in Acapulco has popped up in pop culture.  For Song of the Week, Bec takes it light and breezy with the bluesy "Hard Luck" from "Frankie and Johnny" while Justin gives a little love to Lee Hazlewood's "The Fool," originally a hit for Sanford Clark but surfacing both as a home recording by Elvis and eventually on the "Elvis Country" album. Note: We recorded this episode just before the "Sunset Boulevard" box set news dropped, before seeing Riley Keough's "In Process" short film and a few other news tidbits that cropped up, which we'll tackle all on the next episode! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

MONOLOGUE The Liberal Clown Car Rolls On NEWSMAKER Liberal Leadership Debate  Wyatt Claypool, Senior Contributor with The National Telegraph Thenationaltelegraph.com  on YouTube https://www.youtube.com/@thenationaltelegraph9253   OPEN LINES THE CULT OF CLIMATE CHANGE Yes, NOAA adjusts its historical weather data: Here's why https://abcnews.go.com/US/noaa-adjusts-historical-weather-data/story?id=118987611 Tony Heller – Geologist, Weather Historian, Founder of Real Climate Science dot com MONOLOGUE "The Mass Graves Hoax: How a Lie Branded Canada as a Genocidal Nation NEWSMAKER Patrick Brown STRIKES AGAIN! Brampton staffers allegedly campaign to elect his mother-in-law https://www.rebelnews.com/patrick_brown_staffers_allegedly_campaign_to_elect_mother_in_law  David Menzies – Rebel News Mission Specialist OPEN LINES THIS DAY IN ROCK HISTORY  On this day in music, February 26, 1983, Michael Jackson's Thriller topped the Billboard Album chart – and was well on its way to becoming the best-selling album of the year, worldwide.  In 1980, Island Records' Rob Partridge and Bill Stewart offered U2 a recording contract after watching their performance at Dublin's National Boxing Stadium. A month later, the Irish rock band signed a four-year, four-album contract with the label.  In 1966, Nancy Sinatra scored her first No.1 hit in the US with “These Boots Are Made For Walkin'.” Written by Lee Hazlewood, and featuring instrumentation by The Wrecking Crew, the song marked the beginning of a long creative partnership between Sinatra and Hazlewood. Learn more about your ad choices. Visit megaphone.fm/adchoices

For this months episode we head back to 1971 for a batch of epicly long prog epics, peppered with the occasional bit of folk rock, powerpop, metal, jazz, and afrobeat. Our longest playlist yet, and lots of fun along the way! We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - Badfinger, The Beach Boys, Black Sabbath, David Bowie, Can, Caravan, Neil Diamond, Nick Drake, Emerson, Lake & Palmer, Flower Travelin' Band, The Flying Burrito Brothers, Focus, Hampton Grease Band, Jimi Hendrix, The Hollies, Billy Joel, King Crimson, Mahavishnu Orchestra, Nazz, Harry Nilsson, The Norman Haines Band, Osibisa, Pink FLoyd, The Rolling Stones, Pharoah Sanders, Nancy Sinatra & Lee Hazlewood, Stephen Stills, Traffic, Van Der Graaf Generator & The WhoFind all songs in alphabetical order here - https://open.spotify.com/playlist/36GaQbyuHTepSEAQkXubCN?si=24673026411f4e51Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com 

Episode 185 of Pudding On The Wrist.  In which your faithful deejay and psychic friend spins choice cuts from Psychic TV, Batswing Saloon, Yıldız Yurtsever, Nancy Sinatra & Lee Hazlewood, Ahmed Abdul-Malik, and so many more.Come for the pudding, stay for the wrist.

Portland's Iconic Collective FEDERALE released their sixth studio album, "Reverb & Seduction" on Jealous Butcher Records and also marking the band's 20th Anniversary. In the 20 years of their existence, Federale has carved out a unique niche within the indie music landscape, blending their signature spaghetti-Western instrumental sound with increasing doses of moody vocal arrangements in the spirit of Lee Hazlewood and Leonard Cohen. Through it all, I spoke with songwriter and lead singer COLLIN HEGNA – who also spent the last 20 years as a dues-paying member of The Brian Jonestown Massacre – maintains a strictly retro vibe. Federale's records have always sounded period-correct for an alternate-universe 1971, where rock and roll never caught on. Earlier, the band released the lead track, "Heaven Forgive Me" and "No Stranger" a song that pays homage to the legendary Lee Hazlewood. Recorded at Hegna's Revolver Studios in Portland, this album was engineered by Collin Hegna, Matt Thomson and Andrew Joslyn, who boasts five 5 Grammy Award winning albums. The album was mixed by Hegna with Jeff Stuart Saltzman (The Black Keys, The High Violets) and Matt T.To watch the interview on You Tube :  https://www.youtube.com/@DJNocturnahttps://federalepdx.comhttps://linktr.ee/FederalePDX

1 - Nancy Sinatra, Lee Hazlewood - Nancy & Lee - You've Lost That Lovin' Feelin' 2 - m a l i b l u e : ( - No Sleep - Hold On 3 - The Limiñanas - Faded - Où Va la Chance 4 - Kim Deal - Nobody Loves You More - Are You Mine 5 - Sam Burton - Dear Departed - Long Way Around 6 - Yo La Tengo - Old Joy (OST) - Driving Home 7 - Bonnie ‘Prince' Billy - The Purple Bird - Downstream (feat. John Anderson) 8 - John Prine - In Spite of Ourselves - In Spite of Ourselves (feat, Iris DeMent) 9 - Inóspita - E nós, Inóspita? - Só 10 - MaZela - Desgostos em Canções de Colo - Entre Amor e Ódio 11 - Malva - … - Manada 12 - Três Tristes Tigres - Atlas - Exodus 13 - Bia Maria - Qualquer Um Pode Cantar - Afonia 14 - zakè · From Overseas · City of Dawn - Certain Path - I Saw You At Night 15 - Antonymes - The Gramophone Suite - Coming Out Of Silence 16 - Wilson Tanner - 69 - Sun Room   17 - Selah Broderick - Moon in the Monastery - The Deer 18 - ML Buch - Skinned - Stone Bridge 19 - Brian Eno - FOREVERANDEVERNOMORE - Who Gives a Thought 20 - Fennesz - Mosaic - Loved and the Framed Insects 21 - Efterklang - Piramida - Sedna 22 - Feu! Chatterton - Palais d'argile - Avant Qu'il N'y Ait le Monde 24 - Tiago Caetano - Eco da Baía - Salvo 25 - Tiago Caetano - Eco da Baía - Na Casa Da Verusca 25 - Paul Spring - Kind Of Heaven - Far From The Flame (Acoustic) 26 - Pedro Mizutani & Skinshape - Pensando Baixo - Chorar Na Beira Do Mar 27 - Brigid Mae Power - Songs for You - You Don't Know Me 28 - Office Culture - Enough - Desire 29 - Blonde Redhead - Sit Down for Dinner - Via Savona 30 - Diane Cluck - House Tears - Sent an Email 31 - Loma - How Will I Live Without a Body? - Turnaround 32 - Madeline Kenney - The Same, Again: ANRM (Tiny Telephone Session) - Plain Boring Disaster 33 - David Sylvian - Dead Bees On A Cake - Darkest Dreaming 34 - Peter Broderick - Home - Games Again  

(00:00:00) KMFDM - Symbols / 1997 (00:33:04) Steven Wilson - Hand. Cannot. Erase. / 2015 (01:02:22) Lee Hazlewood - Cowboy in Sweden / 1970

El pasado 13 de noviembre falleció Shel Talmy a los 87 años de edad. El productor discográfico estadounidense que ayudó a moldear el sonido de la música británica de los 60, la persona que capturó en el estudio numerosos momentos históricos en la historia del rock’n’roll por bandas como The Kinks, The Who, The Creation o The Easybeats. He aquí nuestro pequeño homenaje al padrino del freakbeat, orfebre del sonido de estudio cuyo legado perdurará mientras su música siga con nosotros.Playlist;THE KINKS “You really got me” (agosto 1964)THE WHO “Anyway anyhow anywhere” (mayo 1965)THE FIRST GEAR “Leave my kitten alone” (1964) (octubre 1964)THE SNEEKERS “Bald headed woman” (octubre 1964)THE MICKEY FINN “Night comes down” (marzo 1965)GOLDIE and THE GINGERBREADS “Look for me baby” (inédita, grabada en 1965)THE ROKES “La mia città” (1965)DAVY JONES (DAVID BOWIE) “You’ve got the habit of leaving” (agosto 1965)THE CREATION “Making time” (junio 1966)THE EASYBEATS “Friday on my mind” (octubre 1966)MANFRED MANN “Semi-Detached, Suburban Mr. James” (octubre 1966)THE NASHVILLE TEENS “I’m coming home” (octubre 1967)ROY HARPER “Ageing raver” (1968)LEE HAZLEWOOD “Bye baby” (1969)THE KINKS “Sunny afternoon” (junio 1966)Escuchar audio

Wyndham Wallace is a Berlin-based writer whose critically acclaimed first book, Lee, Myself & I – about his friendship with Lee Hazlewood, the man behind These Boots Are Made For Walking – was published in 2015. He began his career as a music publicist in the mid 1990s, before running City Slang Records' UK office for eight years, but now works as a music critic for, among others, Uncut and Classic Pop. He also worked as music consultant on Sebastian Schipper's Victoria, for which composer Nils Frahm won a German Film Award, and can be seen fronting Almost Fashionable: A Film About Travis, which won the Edinburgh Film Festival Audience Award. In 2024, he helped lead a number of victims of child sexual abuse over three decades to a public settlement with Horris Hill prep school, and he continues to campaign for justice for all those abused in private education, past and present.Questions for Wyndham:I would love for you to share some of your journey. How did you get into the work you are now doing?Your own experience at Horris Hill, and how sexual abuse was the only angle that the law would accept to bring a case even though other equally appalling things took place there, leaving other victims without satisfactionThe broader issues of a culture that has outlived its usefulness, if it was ever useful, and its wider effects on societyWhether, for all their talk of safeguarding etc, schools today have genuinely learned anything from the last decade or two of abuse exposure. With new cases emerging it would appear not much has changed at all.The absurdity of separating a child from its parents at a young age when it's clearly seen abroad as seriously detrimental, even as a punishment, to a childThe need for mandatory reporting and how Duty Of Candour could have helped me (and other Horris Hill victims) put this largely behind us as early as 1985.Your belief that what we are actually dealing with here is a cult, pure and simple. Most of the signs are there, and it takes victims years to deprogram. I believe it's also helpful to think this way in terms of our parents, who had been similarly inculcated and are victims too, yet never receive an apology from schools (even when former pupils do)The link between music and memory.What is the work that you are doing now?#csa #horrishill #boardingschool #sexual abuse #boardingschoolcultsFor more information please visit: http://www.wyndhamwallace.comTo purchase his first book: http://jawbonepress.com/lee-myself-i/--- Piers is an author and a men's transformational coach and therapist who works mainly with trauma, boarding school issues, addictions and relationship problems. He also runs online men's groups for ex-boarders, retreats and a podcast called An Evolving Man. He is also the author of How to Survive and Thrive in Challenging Times. To purchase Piers first book: https://www.amazon.co.uk/How-Survive-Thrive-Challenging-Times/dp/B088T5L251/ref=sr_1_1?dchild=1&keywords=piers+cross&qid=1609869608&sr=8-1 For more videos please visit: http://youtube.com/pierscross For FB: https://www.facebook.com/pierscrosspublic For Piers' website and a free training How To Find Peace In Everyday Life: https://www.piers-cross.com/community Many blessings, Piers Cross http://piers-cross.com/

Federale has carved out a unique niche within the indie music landscape, blending their signature spaghetti-Western instrumental sound with increasing doses of moody vocal arrangements in the spirit of Lee Hazlewood and late Leonard Cohen. Maintaining a retro vibe, Federale's records have always sounded period-correct for an alternate-universe 1971, where rock and roll never caught on. Earlier, the band shared the singles 'Heaven Forgive Me', 'No Strangers' and 'Advice From A Stranger' The film industry continues to take notice as well: The band's latest licensing successes include placing tracks in the trailer for the Colin Farrell / Brendan Gleeson vehicle 'Banshees Of Inisherin', as well as in the Kate Hudson thriller 'Mona Lisa & The Blood Moon' and Swiss action/comedy 'Mad Heidi'.'Reverb & Seduction' is out now everywhere digitally, including Apple Music, Spotify, Tidal and Bandcamp. Also released on CD and limited edition vinyl, the album available from fine record dealers and via Bandcamp.

Extrait : « … Néanmoins ça n'enlève rien au talent de Gaspard Royant, ni à sa musique sortie tout droit d'un scopitone anglais. Oui parce que le bougre, né à Thonon les bains en 79, chante dans la langue de Richard Peyton, vendeur d'électroménager à Skipton dans le Yorkshire. Ce grand admirateur de Roy Orbison, Phil Spector, Sam Cooke, mais aussi de The Last Shadow Puppets et Lee Hazlewood, fait une musique aux sonorités passées, très sixties … »Pour commenter les épisodes, tu peux le faire sur ton appli de podcasts habituelle, c'est toujours bon pour l'audience. Mais également sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde. Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

'It hasn't rained for six days'Lloyd Cole, Stuart Moxham, Virginia Astley, Selena Gomez, Lee Hazlewood, The Fall, Les Mamans du Congo & Rrobin, Roddy Frame, Tindersticks

Un año más confeccionamos una sesión de temas instrumentales, paradisíacos y evocadores, con melodías surferas seleccionadas desde nuestras valijas subterráneas. Se trata de un episodio sin palabras ni interrupciones, intentando transportarte con esta sesión de atardecer a una playa solitaria, tranquila y hermosa. Deja a un lado las preocupaciones. Hoy escapamos del Sótano. Hoy hay surf en la azotea. Relájate… y disfruta.Playlist;THE DENVERMEN “Quiet Beach” (1963)THE VIBRANTS “The breeze and I” (1963)RJ and THE RIOTS “Your summer dream” (1964)DUANE EDDY “The quiet three” (1959)THE MAJESTICS “Rip tide” (1962)THE SENTINALS “Sunset Beach” (1963)JOHNNY FORTUNE “Siboney” (1963)LEE HAZLEWOOD’S WOODCHUCKS “Quiet Village” (1964)THE CHARADES “In dreams” (2014)LOS STRAITJACKETS “Arizona sunset” (2001)THE BOSS MARTIANS “El Coyote” (2024)JON AND THE NIGHTRIDERS “Amor del mar” (1996)LAIKA AND THE COSMONAUTS “Enchanted rock” (1994)THE BLUE STINGRAYS “Blue Venus” (1997)LOS BLUE MARINOS “The last wave” (2014)THE ROUTES “Love you more” (2023)THE MANAKOORAS “Summer of the surf King” (2022)THE DEAD ROCKS “Maui’s sunset” (2005)THE AQUA BARONS “Unknown seas” (2020)FIFTY FOOT COMBO “Le dimanche matin” (2002)THE TEMPOMEN “Midnight on Pier 13” (196?)LINK WRAY “Don’t leave me” (1990)Escuchar audio

Daniela Kennedy (voz y batería), Roi Fontoira (voz y guitarra) y Sergio Alarcón (guitarra, teclado y sintetizador, percusión) son The Limboos. Si a algo nos tienen acostumbrados The Limboos con la salida de cada disco es a sorprendernos: desde que agitaron la escena cual coctelera con su 'Mambo Espacial', no han parado de girar y reinventarse. Ahora el trío abre un nuevo ciclo con su disco 'Off The Loop', en el que beben de la psicodelia, el pop barroco y el sonido cinematográfico. Todo ello sustentado en infeccioso groove. Después de diez años de trayectoria y tres discos a sus espaldas, The Limboos presentan su cuarto álbum, 'Off The Loop' (Penniman Records, 2024). En las nueve canciones y 35 minutos que componen el disco, producido por Martín García Duque, la banda vuelve a reinventarse hacia pasajes lisérgicos, pop barroco y psicodelia de bella factura, que se entremezclan con atmósferas cinematográficas, guitarras "sonido mosca" y sintetizadores galácticos. Hay reminiscencias a Lee Hazlewood y Scott Walker, pero también a Iggy Pop o Dan Auerbach.Escuchar audio

durée : 01:31:52 - Le Grand dimanche Soir - par : Charline Vanhoenacker, Guillaume Meurice, Juliette ARNAUD, Aymeric LOMPRET - Le rappeur et réalisateur Abd al Malik nous parle de sa série "9.3 BB" diffusée sur France TV Slash dès le 19 avril. En live, on part dans un casse-tête musical avec le groupe Donna Blue et leur titre "Labyrinthe" avant une reprise de Nancy Sinatra & Lee Hazlewood : "Summer Wine". - invités : Abd Al Malik, Donna Blue - Abd Al Malik : Rappeur, slameur et auteur, Donna Blue : Duo musical originaire des Pays-Bas - réalisé par : François AUDOIN

Dublin singer-songwrriter Danny Carroll released his debut solo album I am the Cheese on March 1. He talks through the nine tracks on this TPOE 304. --- Press release: Part of the Dublin music scene for years, Danny Carroll is co-curator of A Litany Of Failures compilation series showcasing independent artists from across Ireland.  Having gigged in various projects, he's opened for kindred spirits such as Jeffrey Lewis and Pavement guitarist Spiral Stairs before the time came to work on his debut solo album. Enlisting the help of Belfast based producer Chris W. Ryan (New Dad, Just Mustard, Robocobra Quartet), the two developed songs with a playful, anything goes approach, with Carroll's songs likened to softer touchstones of indie rock - Silver Jews, Jonathan Richman, and Lee Hazlewood. --- Danny explains: I Am The Cheese is an album I initially recorded with Chris W. Ryan in a week in June 2021. We did this in a terraced house in East Belfast - visited by Carl Eccles on two occasions to play guitar and sing some backing vocals. In the months that followed, Finn McCarthy emailed me bass parts, and I added various bells and whistles to the songs from a flat on North Circular Road in Dublin 7. Laura Ryder also contributed piano to the song Cheesemonger. The drums were performed and recorded by Chris on one day in January 2022 in Start Together Studios. He then mixed the album, and eventually I got it mastered by the late, great John Davis (Blur, The XX, Careerist) who passed away in September 2023. I've sat on the album a long time, in part down due to vinyl pressing, in part due to personal reasons. The mental fortitude it takes to independently 'emerge' and 'unleash' is not always forthcoming. At this point the album feels like a distant document. Nevertheless, it's still something I'm happy to have made for myself. The title is taken from the 1977 Robert Cormier YA novel, which haunted my adolescence. The final lines of the novel refer back to the folk song 'The Farmer In The Dell': "The cheese stands alone. The cheese stands alone. Hi-ho, the derry-o! The cheese stands alone" For a number of reasons it felt fitting to lift that title. credits

DJ St. Paul neemt de muzikale week door met liedjes van o.a. World Party, Joy Anonymous & Phoenix. Deze keer in de albumrubriek een uitgebreid gesprek met Danique en Bart van Donna Blue over Nancy & Lee van Nancy Sinatra en Lee Hazlewood.  Benieuwd naar de tracklist en shownotes? Check ze via: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠tivolivredenburg.nl/studio/podcast/st-pauls-boutique/

DJ St. Paul neemt de muzikale week door met liedjes van o.a. World Party, Joy Anonymous & Phoenix. Deze keer in de albumrubriek een uitgebreid gesprek met Danique en Bart van Donna Blue over Nancy & Lee van Nancy Sinatra en Lee Hazlewood.  Benieuwd naar de tracklist en shownotes? Check ze via: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠tivolivredenburg.nl/studio/podcast/st-pauls-boutique/

It's a bank holiday here in the states (a day off) for Presidents Day and while there is an uneasy feeling about this next election, the tension is already tight, we choose to be positive and go all over the map. After all we will need to find a new place to live maybe. Features Melody Makers, Mexican Institute Of Sound Featuring Adan Jodorowsky, Nancy Sinatra & Lee Hazlewood, Francois Hardy, Black Truth Rhythm Band, Ndenga Andre Destin Et Les Golden Sounds and loads more. This show was first broadcast on the 19th of February, 2024For more info and tracklisting, visit: https://thefaceradio.com/worldy/Tune into new broadcasts of Worldy with Matt and Dom, LIVE, Monday from 10 AM - 12 Noon EST / 3- 5 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Wyndham Wallace is an English music journalist (Uncut, Classic Pop), who lives in Berlin, Germany.His first book, Lee, Myself & I, which concerns his friendship with the legendary Lee Hazlewood, was published in 2015 by Jawbone Press. His movie, Almost Fashionable: A Film About Travis, was released in 2018. Show theme by Bis.Want more? Join The James McMahon Music Podcast Patreon. https://www.youtube.com/watch?v=U5jY33R9cXAThankyou to our Patreon members! John Foley.Wilfreda Beehive.Andrew McMahon.Joe Frost.Conor McNicholas.John Earls.Laura Norton.Mike Clewley.Richey D.Ricky Murray.Danielle Walker.Claire Harris.Dana Landman. Laura Kelly Dunlop.  Twitter - @jamesjammcmahon Substack - https://spoook.substack.com YouTube - www.youtube.com/channel/UC8Vf_1E1Sza2GUyFNn2zFMA Reddit - https://www.reddit.com/r/jamesmcmahonmusicpod/

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

Investigadores de la Universidad de Pittsburgh y del Centro de Cáncer Norris Cotton de Estados Unidos elaboraron hace unos años un estudio con unas conclusiones un tanto inquietantes. Cada día, los jóvenes están expuestos a unas ocho referencias de bebidas alcohólicas mientras escuchan música. Estos investigadores creen que esos impactos incitan al consumo entre los jóvenes.La solución pasa por fomentar el pensamiento crítico para aprender a distinguir cuando una canción o un cantante manipula tus pensamientos y emociones.Nuestra lista no incluye marcas, pero sí muchas referencias al alcohol. Forma parte de nuestra forma de entender la vida. Bebemos para celebrar, para olvidar, para ver el doble, para encontrar belleza donde sobrios solo vemos fealdad… Esto que vamos a escuchar es solo arte. No se sube a la cabeza.Suenan:1.-En el último trago. Chavela Vargas2.-Quinto de cerveza. Los Ases del Jiloca3.-Hormigón, mujeres y alcohol. Ramoncín4.-Bourbon. Dinamita pa los Pollos5.-Quiereme aunque no bebas. O Antonio Borrachamendi. Abuelo Jones6.-Tragos de amargo licor. La santa Cecilia y Bunbury7.-Fin de amor. Duncan Dhu8.-El sol no regresa (en vivo). La quinta estación9.-Quiero beber hasta perder el control. Los Secretos10.-Borracho. Los Brincos11.-Ella. Pedro Guerra12.-Drinkin' wine Spo-Dee O'Dee. Jerry Lee Lewis13.-Hablar, hablar, hablar. Los Zigarros14.-Summer wine. Nancy Sinatra y Lee Hazlewood

Ambiance psychédélique sur ce titre de 1967. L'auteur lui-même a reconnu que les paroles ne voulaient rien dire...

What the H? Exactly. The award-winning* Lickers discuss some of their favorite records filed under the letter H. -- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2023, idiotic, introverted hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-third episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good solid grasp of the alphabet and how it works. They had previously utilized the letters A thru G, so naturally, they went with H. LLR "H" mixtape:  [SIDE H-A] (1) Kristian Harting - Digging Up Graves (2) Steve Harley & Cockney Rebel - Hideaway (3) Height Keech - Working Woman Blues / This Brutal World... (4) Honey Ltd. - Tomorrow Your Heart (5) Tim Hecker - Voice Crack [SIDE H-B] (1) Hurrah! - If Love Could Kill (2) Donny Hathaway - I Believe To My Soul (3) Daryl Hall - Why Was It So Easy (4) H.E.R. - Focus (5) John Hartford - Holding Sonic contributors to episode thirty-one of Lightnin' Licks Radio include:  Holland-Dozier-Holland, Lee Moses, James Todd Smith, SZA, Herbie Hancock, Placido Flamingo,  Babyface, The Rascals, B.L.K., Donny Hathaway, Roberta Flack, John Lennon, Ray Charles, Daryl Hall, John Oates, Elton John, Robert Frip, David Bowie, Kristian Harting, Mike Kroll, Honey Limited, Lee Hazlewood, Nancy Sinatra, The Mamas and the Papas, The Wrecking Crew, Height Keech, Future Islands, Hemlock Ernst, Steve Harley, Cockney Rebel, super special secret guest student disc jockey Billy Lalonde form the WHCW archives circa 1992(ish), Faith No More, The Waterboys, John Fahey, John Hartford, Glenn Campbell, Randy Scruggs, Norman Blake, Emma Ruth Rundle, Tim Hecker, Brian Eno, H.E.R., TLC, Home, U2, Elvin Bishop, DJ Shadow, Arc of All, The Clockers, Ashley Alexander, Mister and Jenn Wasner. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Guest host Garrett Cash and Justin begin Part 4 of Elvis and Country Music journey right where they left off: Elvis' iconic 1969 sessions at Memphis producer Chips Moman's American Sound, which provide Elvis his first country hits – as the industry considered them – in a decade. They then trace Elvis' path from Las Vegas, where he brings together the finest country-rock band ever assembled in the TCB Band, back to Nashville where he not only embraces the “Countrypolitan” evolution of the Nashville sound, but pays homage to the genre's diverse pop, blues, and folk roots with his only concept album, an artistic triumph which fully showcased how Elvis viewed the history of country music, with its many lineages all under one banner: “Elvis Country.” Our hosts also take sidebars to reflect on women's rising voices in country music during this period, the development of a movement within Nashville that came to be dubbed “outlaw country,” and songwriters such as Mac Davis, Dallas Frazier, Lee Hazlewood, and Dennis Linde, whose “Burning Love” once again drives home the failings, inherent flaws and revealing biases in the way we discuss genre using the music industry's classifications; a “rock” hit from a “country” writer, originally recorded by “soul” singer Arthur Alexander. Finally, we arrive in Hawaii, where – as Jimmie Rodgers once reminded us – everybody does “it.” What is “it,” exactly? Sure seems like country music, since “Aloha from Hawaii” is jam-packed with it! And what to make of Elvis' interpretation of country writer Mickey Newbury's “An American Trilogy?” All that and more – next week's episode (we promise it'll be shorter!) will take us from Elvis' 1973 Stax Sessions all the way to the morning of August 16, 1977. You can find more of Garrett on "The Beat! With Garrett Cash" on SoundCloud at: https://soundcloud.com/garrett-cash-635212819 As well as on the Let It Roll Podcast miniseries "Holy Roll" at: https://letitrollpodcast.substack.com/p/let-it-roll-with-garrett-cash  In late October 2023 we will be releasing a YouTube and Spotify playlist with as many songs featured on this series as possible. Stay tuned to our social media pages for details. This series would not be possible without the support of TCBCast Patreon backers, thank you to all of our patrons! This is not remotely comprehensive or in any order whatsoever but among some of the key resources that we found useful for this 4th episode are: Ken Burns' Country Music - Documentary, Book & Soundtrack Careless Love: The Unmaking of Elvis Presley by Peter Guralnick Last Train to Memphis: The Rise of Elvis Presley by Peter Guralnick Elvis Presley: A Life in Music by Ernst Jorgensen How Nashville Became Music City USA by Michael Kosser Cocaine and Rhinestones: "Dallas Frazier: Can't Get There from Here" by Tyler Mahan Coe: https://cocaineandrhinestones.com/dallas-frazier Cocaine and Rhinestones: “Billy Sherill's Nashville Sound” by Tyler Mahan Coe: https://cocaineandrhinestones.com/billy-sherrill

This week, we talked to actor/writer/musician Julie Klausner (Hulu's ‘Difficult People, Double Threat Podcast, ‘I Don't Care About Your Band') about Nancy Sinatra's 1967 TV Special ‘Movin' With Nancy.' We obsess over Nancy's dedication to the art of her lip-syncs, the magic of her partnership with Lee Hazlewood, how the special is also an unintentional horror movie & why Ringo Starr, Throbbing Gristle & Davy Jones would have been perfect duet partners with Nancy.So pour yourself a goblet of that mad, mad, mad, mad cola and take the passenger seat straight into heaven on this week's episode of Revolutions Per Movie.JULIE KLAUSNER:julieklausner.com/'SILENCE' music video: www.youtube.com/watch?v=FY9DSQJN_…nel=JulieKlausnerJULIE'S BENEFIT FOR TRANS LIFELINE: www.teepublic.com/user/giantgiant/…lence-collectionHost Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Theme by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comArtwork by Jeff T. Owenslinktr.ee/mymetalhandNew episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please rank and review it on your favorite podcast app.Thanks! Hosted on Acast. See acast.com/privacy for more information.

Episode 159. Choice tracks from The Crime Family, Faust, Shangri-Lass, Byrdie Green, The UFO Club, When People Were Shorter and Lived Near the Water, Lee Hazlewood, and so many more.

Singles Going Around- Drowning In FlameThe Band- "W.S. Walcott Medicine Show" The Beatles- "Flying" The Beach Boys- "It's About Time" Nancy Sinatra & Lee Hazlewood- "Elusive Dreams"Van Morrison- "If I Ever Needed Someone"Cream- "Badge"The Monkees- "Randy Scouse Git"Jimi Hendrix- "Bleeding Heart"Roger Miller- "In The Summertime (You Don't Want My Love)Neil Yong & Crazy Horse with Crosby, Stills & Nash- "Through My Sails"Paul McCartney- "Monkberry Moon Delight"Simon & Garfunkel- "Baby Driver"Willie Nelson- "I Still Can't Believe You're Gone"The Rolling Stones- "Far Away Eyes"Bob Dylan- "I'll Be Your Baby Tonight"Otis Redding- "Try A Little Tenderness"Porter Wagoner- "The Rubber Room"*All selections taken from original records.

This essay is one in a series celebrating deserving artists or albums not included on NPR Music's list of 150 Greatest Albums Made By Women.Nancy Sinatra, the force who brought "These Boots Are Made For Walkin'" to life, was never meant to sing the song at all. The late Lee Hazlewood, a songwriter and producer for the likes of Duane Eddy, had written the single and intended to sing it himself. But once Sinatra heard it, she immediately had a better idea. "He said, 'It's not really a girl's song. I sing it myself onstage.' I told him that coming from a guy it was harsh and abusive, but was perfect for a little girl to sing," Sinatra told Los Angeles Magazine last year. The song soared to the top of the Billboard pop charts, scored Sinatra two Grammy nominations and has been covered dozens of times by the likes of Loretta Lynn and a baby-faced Nick Cave.The 1966 hit became an anthem for women who refused to be walked all over, and who threatened to do the very same if crossed. It also proved that Sinatra and Hazlewood collaborations were pure magic, a fact writ large on their first collaborative album, 1968's Nancy & Lee. Composed of covers and Hazlewood-penned tunes, Nancy & Lee is a linchpin of horn-driven, off-kilter, sing-speak '60s pop. While Hazlewood's lysergic jilted cowboy baritone purrs throughout the album, and Billy Strange, of the famed Wrecking Crew, lends a hand arranging and composing the songs here, Sinatra's crystalline pipes, made all the more wonderful because of her expressive singing style, make it glisten.The way Sinatra so nonchalantly sings "go ahead, see if I care" on the album's Johnny and June Carter Cash cover "Jackson", you can almost see her shrugging. On the twinkling closing track "I've Been Down So Long (It Looks Like Up To Me)," Sinatra admits: "Well I pushed him off the ladder of success," giggling; Hazlewood chimes in and says: "That's true!" (The vinyl version of the album features Sinatra and Hazlewood in a Q&A, in which they're asked: "Does 'Lady Bird' contain political overtones?" The two reply: "The only overtones 'Lady Bird' contains are the high notes Lee misses and Nancy laughs at").What stuns about Nancy & Lee, though, is how Sinatra and Hazlewood masterfully marry sunshiny orchestral elements with lyrics that dig at something darker about the human condition, ranging from fleeting lovers and feeling so devastatingly lonesome that another romance seems outside the realm of possibility. On the swelling "Sundown, Sundown," Hazelwood growls: "There's no one in this world for me / There's never gonna be." Then Sinatra comes in, sweeping Strange's orchestral arrangements — and listeners — off their feet as she croons: "Sundown / I miss you, sundown / I need you sundown / Come on, come on, come on, come on back to me."Love is always just out of reach on Nancy & Lee; no one is anyone's baby. It's a sweet, elusive dream thing that lives on only in song. Loving feelings are lost, and in "Summer Wine," characters wake up with their pockets empty, head swelled and with only a fading memory to remind them of the one who got away. The album's core is the

durée : 00:07:25 - Ces chansons qui font l'été - par : Bertrand DICALE - Tout l'été, nous parlons chaque jour d'une grande chanson d'amour. Aujourd'hui, la reprise contemporaine d'un classique pop de Lee Hazlewood et Nancy Sinatra.

Growing up in remote rural Norfolk, crime writer Cathi Unsworth had a Goth conversion, a condition from which, she happily admits, you never fully recover. And never want to. She discovered Dennis Wheatley's ‘To The Devil A Daughter', heard Siouxsie & the Banshees on the Peel Show and saw a picture of Robert Smith in a magazine which she stuck by her bedroom mirror to help her construct his spectacular dishevelment. She's just published ‘Season Of The Witch: the Book of Goth', a highly entertaining account of the dark side of rock starting out with the Brontes, Edgar Allan Poe and Aubrey Beardsley and heading, via Jim Morrison, Jacques Brel and Nico, to Joy Division, the Cure and the Sisters of Mercy. This is a very funny and self-mocking pod in which you'll find the following … … why Yorkshire is “Goth's Own Country”. … the secret ingredient in Mac McCulloch's vertical hair. … Nick Cave - “the Dark Lord of Goth Music” (©️ the Daily Mail) – at the Coronation. … Lee Hazlewood's advice to Nancy Sinatra when recording Goth staple These Boots Are Made For Walking. … “changing into fishnet tights in the bogs at school”, rival pop gangs, mooching about in graveyards and a mate “who used to sit up trees reading Dennis Wheatley and summoning Satan”. .. the joy of crimpers and backcombing. … “spreading the virus” at the Batcave. … the inventor of the term Goth and the key Gothmothers and Gothfathers. … local folklore about hellhounds in Norfolk. … her first gig, the York Rock Festival in 1984 featuring the Bunnymen, Sisters of Mercy, Spear of Destiny and the Redskins: “Gothtopia”! … “Beer Girls and Beer Boys” and why it was best to avoid them. … dark Satanic mills. … and the greatest Goth record ever made. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Growing up in remote rural Norfolk, crime writer Cathi Unsworth had a Goth conversion, a condition from which, she happily admits, you never fully recover. And never want to. She discovered Dennis Wheatley's ‘To The Devil A Daughter', heard Siouxsie & the Banshees on the Peel Show and saw a picture of Robert Smith in a magazine which she stuck by her bedroom mirror to help her construct his spectacular dishevelment. She's just published ‘Season Of The Witch: the Book of Goth', a highly entertaining account of the dark side of rock starting out with the Brontes, Edgar Allan Poe and Aubrey Beardsley and heading, via Jim Morrison, Jacques Brel and Nico, to Joy Division, the Cure and the Sisters of Mercy. This is a very funny and self-mocking pod in which you'll find the following … … why Yorkshire is “Goth's Own Country”. … the secret ingredient in Mac McCulloch's vertical hair. … Nick Cave - “the Dark Lord of Goth Music” (©️ the Daily Mail) – at the Coronation. … Lee Hazlewood's advice to Nancy Sinatra when recording Goth staple These Boots Are Made For Walking. … “changing into fishnet tights in the bogs at school”, rival pop gangs, mooching about in graveyards and a mate “who used to sit up trees reading Dennis Wheatley and summoning Satan”. .. the joy of crimpers and backcombing. … “spreading the virus” at the Batcave. … the inventor of the term Goth and the key Gothmothers and Gothfathers. … local folklore about hellhounds in Norfolk. … her first gig, the York Rock Festival in 1984 featuring the Bunnymen, Sisters of Mercy, Spear of Destiny and the Redskins: “Gothtopia”! … “Beer Girls and Beer Boys” and why it was best to avoid them. … dark Satanic mills. … and the greatest Goth record ever made. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Growing up in remote rural Norfolk, crime writer Cathi Unsworth had a Goth conversion, a condition from which, she happily admits, you never fully recover. And never want to. She discovered Dennis Wheatley's ‘To The Devil A Daughter', heard Siouxsie & the Banshees on the Peel Show and saw a picture of Robert Smith in a magazine which she stuck by her bedroom mirror to help her construct his spectacular dishevelment. She's just published ‘Season Of The Witch: the Book of Goth', a highly entertaining account of the dark side of rock starting out with the Brontes, Edgar Allan Poe and Aubrey Beardsley and heading, via Jim Morrison, Jacques Brel and Nico, to Joy Division, the Cure and the Sisters of Mercy. This is a very funny and self-mocking pod in which you'll find the following … … why Yorkshire is “Goth's Own Country”. … the secret ingredient in Mac McCulloch's vertical hair. … Nick Cave - “the Dark Lord of Goth Music” (©️ the Daily Mail) – at the Coronation. … Lee Hazlewood's advice to Nancy Sinatra when recording Goth staple These Boots Are Made For Walking. … “changing into fishnet tights in the bogs at school”, rival pop gangs, mooching about in graveyards and a mate “who used to sit up trees reading Dennis Wheatley and summoning Satan”. .. the joy of crimpers and backcombing. … “spreading the virus” at the Batcave. … the inventor of the term Goth and the key Gothmothers and Gothfathers. … local folklore about hellhounds in Norfolk. … her first gig, the York Rock Festival in 1984 featuring the Bunnymen, Sisters of Mercy, Spear of Destiny and the Redskins: “Gothtopia”! … “Beer Girls and Beer Boys” and why it was best to avoid them. … dark Satanic mills. … and the greatest Goth record ever made. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Schilderijen, wandkleden, collages, theater, films - kunstenaar Felix de Rooy is een alleskunner. In het Stedelijk Museum Amsterdam cureerde Charl Landvreugd een overzichtstentoonstelling van het werk van kunstenaar. Bij Wat blijft spreekt Lara Billie Rense met Landvreugd over de tentoonstelling en het werk van Felix de Rooy. Verder aandacht voor acteur en zanger Willem Nijholt, schrijver Victoria Amelina, zanger Lee Hazlewood, en het nieuwe femicidemonument. Voor de podcastserie Wat blijft maakte Maartje Willems een portret van Rabi Koria, Nederlands-Syrische beeldend kunstenaar.  --- Redactie: Nina Ramkisoen, Noah van Diepen, Geerte Verduijn, Maartje Willems, Jessica Zoghary, Hella Dwars Eindredactie: Bram Vollaers

Bonus episode fourteen features the award-winning Lightnin' Lickers* Jay and Deon sharing what they've been sonically f#@%ing with as of late. A field trip to their record store of choice, Electric Kitsch, finds them seated in conversation with super special not-so-secret friend Trevor. Trev discusses then submits a LLR all-time record of FIVE (5) choice cuts to this month's mixtape. Five? You give an inch… Sonic contributors to the fourteenth bonus episode of Lightnin' Licks Radio include: Townes Van Zandt, the Jesus and Mary Chain, James Todd Smith, Supertramp, Wolf Alice, Jordana, Ohio Players, Arthur Brown, Liquid Mike, Arc of All, Jay Dilla, De La Soul, Madlib, A Tribe Called Quest, Flea, Nada Surf, Illuminated Hotti, Bonnie Hayes, Nic Cage & Deborah Foreman from Valley Girl, The Payolas, The Plimsouls, Yard Waste, John Fahey, Elizabeth Cotton, Sandy Bull, Bert Janache, Davy Graham, Quelle Chris, Aceyalone, Christopher Cross, Dave Coulier, Pesky Kid, The Meters, Elton John, The Neville Brothers, The Wild Tchoupitoulas, Adrian Young, Ali Shaheed Muhammed, Chico Hamilton, Yesterday's New Quintet, Ronnie Laws, Flying Lotus, Kendrick Lamar, Haim, Gorillaz, Buffalo Springfield, Lee Hazlewood, The Walker Brothers, Josh - Jordo - Deon, Rilo Kiley, Plains, Alabaster DePlume, Led Zepplin, and Kenny Beats. For the mix…Jay brought to the dining room table the musical stylings of:  FAZERDAZE, Pom Pom Squad, Gary Myrick, The Bambi Slam, and Gion Piero Reverberi. Deon suggested cuts from:  Slum Village, Suitcase, and Jenny Lewis. Our super special not-so-secret friend Trevor likes:  Leo Nocentelli, Gary Bartz, Thundercat, Neil Young, and Scott Walker. The wait is over, here's your gawl dang mix tape: [SIDE A] (1) The Bambi Slam – Long Time Coming (2) Thundercat – Friend Zone (3) Pom Pom Squad – Second That (4) Leo Nocentlli – Your Song (5) Slum Village – Look of Love (remix) (6) Gary Myrick – Time To Win [SIDE B] (1) Suitcase – Save Me Some Gravy (2) Scott Walker – It's Raining Today (3) FAZERDAZE – Winter (4) Gary Bartz – Spiritual Ideation (5) Jenny Lewis – Psychos (6) Gion Piero Reverberi – Cat Casanova (7) Neil Young & the Santa Monica Flyers – Mellow My Mind (live) [END] Q: Is there any bass better than dinosaur fart bass? *Review Magazine's Reader's Choice 2023. Thanks to whomever nominated and voted. You are appreciated. Coziness :) --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

A new series dedicated to the soundtracks that make for a great workshop day. njoy the sounds U.V Faster Horses (The Cowboy And The Poet) by Tom T. Hall Why You Been Gone so Long by Jessi Colter I Had My Hopes Up High by Joe Ely I Can't Dance by Gram Parsons I Ain't Living Long Like This by Waylon Jennings I'm The Only Hell (Mama Ever Raised) by Johnny Paycheck Fast As You by Dwight Yoakam Sweet Nuthin's by Wanda Jackson Don't You Think This Outlaw Bit's Done Got Out of Hand by Waylon Jennings Lonesome, On'ry and Mean by Waylon Jennings Two More Bottles of Wine by Emmylou Harris I've Got to Be Moving by Lee Hazlewood

LAYER UPON LAYER - Gruff Rhys BLOOD RUSHES - Civic GOODBYE TO MUSIC - Flyying Colors CADILLAC - Sun Room GIRL SPORTS - Teen Jusus and the Jean Stealers SAND ON THE BEACH - Fidlar LIGHTHOUSE - Mattiel RIDE ON - The Nude Party BEACHES - Diva Beach CHASING RAINBOWS - Rose City Band THINK I'M COMING DOWN - Nancy Sinatra, Lee Hazlewood SWEAR TO GAWD - Sunny War w/David Rawlings HOUSE WE SHARE - Chance Emerson WEIGHTLESS - Arlo Parks ONCE UPON AN ACID GLANCE - Hamish Hawk PROMISES - Bnny SITTING IN THE CORNER - Cuco w/'Adriel Faleva & Kacey Musgraves J'AIME LES FILLES - Kate Bollinger SHADOWS - H.C. McIntire, S.G. Goodman CATHOLIC COUNTRY - Kings of Convenience, Feist CAN I CALL YOU - Waves (Graham Coxon, Rose Elinor Dougall BED OF ROSES - Ian Hunter, Ringo Starr, Mike Campbell

La escudería Light In The Attic Records lanza dos LP’s con Lee Hazlewood como protagonista. Por un lado su primer y mejor álbum de duetos junto a Nancy Sinatra, el disco “Nancy and Lee”, editado en 1968, que aparece con dos bonus tracks. Por otro el disco “The Sweet Ride; lost recordings 1965-1968”, en donde se rescatan demos, descartes y grabaciones caseras del archivo del gran cowboy psicodélico. Playlist; NANCY SINATRA and LEE HAZLEWOOD “Sundown Sundown” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “I’ve been down so long (it looks like up to me)” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Some velvet morning” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Summer wine” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Greenwich Village Folk Song Salesman” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Jackson” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Sand” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Lady Bird” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Love is strange” (Nancy & Lee) NANCY SINATRA and LEE HAZLEWOOD “Tired of waiting” (Nancy & Lee) LEE HAZLEWOOD “I move around” (The Sweet Ride) LEE HAZLEWOOD “Big town” (The Sweet Ride) LEE HAZLEWOOD “The sweet ride” (The Sweet Ride) LEE HAZLEWOOD “Winter moon” (The Sweet Ride) LEE HAZLEWOOD “Spring thing” (The Sweet Ride) LEE HAZLEWOOD “I’ve been down so long (it looks like up to me)” (The Sweet Ride) Escuchar audio

Deana Martin was born in Manhattan to Dean Martin and his first wife, Elizabeth Anne "Betty" McDonald. She moved to Beverly Hills, California, with her family by the age of one. She later went to live with her father and his second wife, Jeanne Biegger. During her childhood, it was not unusual for his Rat Packfriends, Frank Sinatra and Sammy Davis Jr., to visit. Being around them persuaded her to pursue a career in entertainment.Martin trained professionally at the Dartington College of Arts in the United Kingdom.[3] Her theatrical credits include Romeo and Juliet, The Taming of the Shrew, Hamlet, and A Taste of Honey.[4] She co-starred in the National Broadway tour of Neil Simon's play Star Spangled Girl with George Hamilton and Jimmy Boyd. Other starring roles include Wait Until Dark, 6 Rms Riv Vu, A Shot in the Dark, and The Tunnel of Love. She made her major motion picture debut in Young Billy Young with Robert Mitchum, David Carradine, and Angie Dickinson. This debut led to starring roles in the films Strangers at Sunrise with George Montgomery and A Voice in the Night with Vito Scotti.She made her television debut in 1966 on The Dean Martin Show.  She was a frequent guest, performing in musical and comedy numbers with a wide array of entertainers, including Frank Sinatra.She also appeared on A&E Biography, Access Hollywood, CBS Sunday Morning, Country Music Television, E! Entertainment Television, Entertainment Tonight, Larry King Live, Live with Regis & Kelly, Sky Italia, The Bonnie Hunt Show, The Dating Game (where she chose Steve Martinas her date),[11] The Monkees, The Today Show, The Tony Danza Show, The Big Breakfast, and Bruce Forsyth On Vegas. For four seasons she hosted The Deana Martin Show.Since 2021 Martin has hosted Dean and Deana Martin's Nightcap on WABC-770 AM in New York.Martin began her recording career with producer Lee Hazlewood at Reprise Records. The recordings included her country music hit "Girl of the Month Club" while she was a teenager. Other tunes were "When He Remembers Me", "Baby I See You", and "The Bottom of My Mind", all recorded during the 1960s. Musicians from the Wrecking Crew, including Glen Campbell, played on these recordings.Memories Are Made of This was released in 2006. She covered some of her father's hit songs, including the title cut and "Everybody Loves Somebody", "That's Amore", "Just Bummin' Around", and "For Your Love" written by her mother Betty Martin. She also sang a duet with her father's former comedy partner Jerry Lewis on "Time After Time." The album was produced by her husband John Griffeth and reached the iTunes Top 10 chart, where it remained for 40 weeks throughout 2006 and 2007.By 2008, after her tour, she was ready to record again. She went into the studio at Capitol Records with the same personnel to record Volare, released in 2009. It debuted at number seven on the Billboard magazine Heat Seek chart, reached No. 22 on the magazine's Jazz Albums Chart, and appeared in the iTunes Top 10 chart.The song "Volare" peaked at No. 40 in Billboard magazine. Martin was back in the studio working on Destination Moon (2013). Her fourth album includes "Break It to Me Gently", "I Love Being Here With You", and "Beyond the Sea" and four new songs: "Read Between the Lines", "Where Did You Learn to Love Like That", "Paradise", and "Stuck in a Dream with Me". She sang a duet with her father on the Cole Porter song "True Love". Swing Street was released in 2016. She talked to Doug Miles about the album on his show

In an episode first aired September 5, 2022: DJ Andrew Sandoval surveys the five summer editions of his show and selects his favorite tracks alongside a handful of more recent discoveries. Artists include: Bruce & Terry; The Ragamuffins; Mark Eric; The Stephen Crane Village; Freddie Cannon; Brian Hyland; Harmony Grass; The Higher Elevation; The Hot Dog Stand; Teddy & The Pandas; The Fresh Windows; The Gibsons; The Chocolate Watch Band (UK); The Bystanders; Los Iberos; The Pyramid; The Love Generation; Nancy Sinatra with Lee Hazlewood; Johnny Rivers; The Two Of Each; The Kinks; Love; The Monkees; Little Anthony & The Imperials; The 5th Dimension; The Six Pents; Jan & Dean; The Shangri-Las; Skeeter Davis; The Street Corner Society; Lesley Gore; The Beach Boys; The Dave Clark Five; David Kerr; The California Poppy Pickers; The Fortunes; The Imaginations; Floyd & Jerry with The Counterpoints; Toast; The Peppermint Trolley Company; The Seeds; The Bonzo Dog Band; Bill Fay; Ray Chafin; Sonny & Cher; Mournin' Do; Marianne Faithfull; Reparata & The Delrons; Saturday's Photograph; Tuesday's Children; Twice As Much; The Bee Gees; Del Shannon; Chad & Jeremy and Dusty Springfield

In the north of Los Angeles, in a neighbourhood called Glendale, an unassuming bungalow is home to one of the first women in Hollywood to cut men's hair. Today she goes by the glitziest of names, Madelynn von Ritz, but back in the 60s she was called Lynn Castle and hung out with key people of the era, lopping off Jim Morrison, the Byrds, Sonny Bono and Neil Young's locks. She was also a secret musician. But despite her childhood friends being musical svengalis like Phil Spector – who she once dated – as well as Jack Nietzcshe and Lee Hazlewood, it took her a while to reveal her talent. Eventually, however, she cut a number of intimate, melancholy demos in the hazy 60s with Hazlewood, who later famously teamed up with Nancy Sinatra and helped define the decade's psychedelic sound. Lynn is now 83 (going on 53!) and still writes music to this day, with a home studio tucked in the corner of her living room. Those old demos, meanwhile, were found by the label Light in the Attic and reissued as Rose Coloured Corner in 2017 – an album 50 years in the making – including her signature song, pop gem The Lady Barber.  In this episode of The Last Bohemians: LA, supported by Audio-Technica, Lynn discusses her 'friendship' with Elvis, her series of almost-famous moments with Bob Dylan and the Stones, her positive outlook and life, and unexpectedly digs out letters from an old flame... CREDITS Presenter/Exec-Producer: Kate Hutchinson Producer: Holly Fisher Photography: Lisa Jelliffe Theme music: Pete Cunningham, Ned Pegler and Caradog Jones With thanks to Light in the Attic Records. ABOUT AUDIO-TECHNICA In 1962, with a vision of producing high-quality audio for everyone, Audio-Technica's founder Hideo Matsushita created the first truly affordable phono cartridge, the AT-1 in Shinjuku, Japan. Since then, Audio-Technica has grown into a world-renowned company devoted to Audio Excellence at every level, expanding the product range to include headphones, microphones and turntables. Audio-Technica's commitment to the user experience and their devotion to high quality design, manufacturing, marketing, and distribution has placed them at the forefront of the industry for the last 60 years. ABOUT THE LAST BOHEMIANS Journalist and broadcaster Kate Hutchinson launched The Last Bohemians in 2019, pairing the audio with stunning portraits by photographer Laura Kelly. It stole hearts with 86-year-old Molly Parkin's stories of self-pleasuring, LSD countess Amanda Feilding's trepanning tales and Pamela Des Barres' reflections on supergroupiedom. It won silver for Best New Podcast at the 2020 British Podcast Awards and was a finalist at the 2021 Audio Production Awards. Series two featured folk legend Judy Collins; British fashion icon Zandra Rhodes, dealing with the aftermath of losing her lover while celebrating 50 years in fashion; anarcho-punk innovator and illustrator Gee Vaucher; and the controversial witch at the heart of the 1970s occult boom, Maxine Sanders. In 2021, The Last Bohemians launched a lockdown special with performance artist Marina Abramović; it returned in 2022 with the UK's greatest living painter, Maggi Hambling, as well as Bowie's former best friend Dana Gillespie and theatre actor Cleo Sylvestre. thelastbohemians.co.uk patreon.com/thelastbohemians instagram.com/thelastbohemianspod twitter.com/thelastbohospod 

01. People Like Us - Forever [Discrepant] 02. Maraudeur - C'est Cache [Self Released] 03. Horseface - Kuljen Kuljen [Kopotikop] 04. Chip Kinman - Let's Go Dark Shark [In The Red] 05. The Avalanches - Music Is The Light [Modular] 06. Combo Chimbita - Oya [Anti] 07. Robert Haigh - On Terminus Hill [Unseen Worlds] 08. Telefis - Falun Gong Dancer [Dimple Discs] 09. Teresa Winter - What's Wrong with Tombstoning? [The Death Of Rave] 10. Denise Sherwood - This Road [Evergreen] 11. Stephin Merritt - Listen, The Snow Is Falling [Canvasback] 12. Jana Irmert - Dust Is The Rust Of Time [Fabrique] 13. Fogh Depot - Nevalyashka [Denovali] 14. Sankt Otten - Fadenscheing [Hidden Shoal] 15. You'll Never Get To Heaven - By This River [Psychic Handshake] 16. Loma - Half Silences [Sub Pop] 17. Film School - P.S. [Beggars Banquet] 18. Them Are Us Too - Eudaemonia [Dais] 19. Ringo Deathstarr - Rip [Club AC30] 20. Bethany Curve - Vanish [Unit Circle Rekkids] 21. Trailer Trash Tracys - You Wish You Were Red [Double Six] 22. Lee Hazlewood & Nancy Sinatra - Summer Wine [Light In The Attic] 23. Janek Schaefer - Wash Bag Cut [FatCat] 24. Heroin & Your Veins - The Chase [Verdura] 25. Tamaryn - Violet's In A Pool [Mexican Summer] 26. Blouse - Videotapes [Captured Tracks] 27. Lykke Li - Highway To Your Heart [PIAS] 28. Wolf Alice - The Last Man On Earth (Lullaby Version) [Dirty Hit]

Nancy Sinatra lo tuvo todo para triunfar. La hija del eterno Frank Sinatra recibió siendo muy pequeña una educación orientada la arte. Frank no sabía si su hija sería cantante, pero tenía claro que él pondría todo de su parte para que la niña fuese lo que quisiese.Nancy pronto demostró talento para la música y su padre se volcó en ella. Pero nada resultaría sencillo y quizá lo más complejo de todo para la chica fuese cargar con un apellido tan pesado como el suyo.Tras unos inicios poco prometedores, Frank puso la carrera de su hija en las manos de Lee Hazlewood, un tipo con mucho más talento que reconocimiento. El compañero ideal, un músico, productor, arreglista y compositor que además sabía cantar pero que no tenía suficiente nombre para hacer sombra a Nancy.Juntos trabajaron duro y fueron dando pasos en la dirección correcta. Cambiaron el tipo de música, el estilo de Nancy y apuntaron hacía otra dirección. De pronto todo explotó con These Boots Are Made for Walkin', el primer gran éxito de Nancy.Tras algunos sencillos y los primeros álbumes de Nancy, producidos por Lee, la pareja dio un paso más y grabaron junto Nancy & Lee, un disco de duetos que es una maravilla y que fue el primero de una trilogía fantástica a la que dedicamos el Sofá Sonoro de esta semana junto a Fernando Navarro y Lucía Taboada.

Hear the crew talk about the fifth and final prediction of Joe Public 2030, Disparity Dystopia. While the outlook isn't good, we still have some optimism about it. Also - Lizzo, July 4th jamz, Elton John, and Lee Hazlewood.

Podcast #604 wonders if old is new while playing tracks from Ramones, The Clams, The Dogmatics, Nancy Sinatra & Lee Hazlewood, Craig Finn, & Yoo Doo Right.

Lots of great tunes and good vibes on this Catching A Wave!  We've got a trio of tunes with the word "without" in the title from Cayucas, The Hondells and McKinley James.  The Wheel Of Fun, Fun, Fun returns with covers of The Beach Boys by Papa Doo Run Run, The Challengers and The Weeklings.  Beth Riley also has a deep track from The Beach Boys that will make you flip a coin...and we drop that coin in the Jammin' James Jukebox to hear our selection of the week!  Speaking of The Beach Boys earlier, we hear a newly remastered mix of "Good Vibrations" plus rockin' tunes from The Delstroyers, Secret Agent, Lee Hazlewood's Woodchucks, Garner Firebird, Shorty's Swingin' Coconuts, Webb Wilder, Toro Jones, Stories From Shamehill as well as Evan Foster and Wave Electric from the new Surf You Next Tuesday 2 The Revenge compilation! Intro music bed: "Catch A Wave"- The Beach Boys   The Delstroyers- "Zomb Zomb" Stories From Shamehill- "Flatten The Curb" Secret Agent- "Honeytrap" Webb Wilder- "Rocket To Nowhere" Toro Jones- "Low Tide"   Trio of "Without" tunes: Cayucas- "Lonely Without You" The Hondells- "The Rebel (Without A Cause)" McKinley James- "I Can't Live Without You"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Heads You Win, Tails I Lose" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Lee Hazlewood's Woodchucks- "The Man" Wave Electric- "Moon Surfing" Evan Foster- "Surfer's Anthem"   Wheel Of Fun, Fun, Fun: Papa Doo Run Run- "Wouldn't It Be Nice" (with Mike Love and Jeffrey Foskett) The Challengers- "Surfin' Safari" The Weeklings- "Help Me Rhonda"   Jammin' James Jukebox selection of the week: The Ventures- "Pedal Pusher"   Garner Firebird- "Zero To Sixty" The Beach Boys- "Good Vibrations" (2022 stereo mix & master) Shorty's Swingin' Coconuts- "Raunchy Twist"   Outro music bed: The Ventures- "(I Can't Get No) Satisfaction"

Patty McG's first major project after The Prisoner wrapped up in early 1968 was The Moonshine War, for Sex and the Single Girl director (and title-song lyricist!) Richard Quine. Quine did not write this film's remarkably concise and descriptive title song, "The Ballad of Moonshine," leaving that to Hank Williams, Jr. The great crime writer Elmore Leonard adapted the screenplay of The Moonshine War from his own 1969 novel. No one will argue it's on the level of later, adapted-by-other-screenwriters Leonard translations like Get Shorty, Jackie Brown, Out of Sight, or the TV series Justified, but the seeds are here.  Also here: Richard Widmark! A pre-M.A.S.H. Alan Alda! A pre-fame Teri Garr and a pre-billing Tom Skerritt! A pre-The Waltons Will Geer! Lee Hazlewood of Lee Hazlewood Industries as gun thug Dual Metters! Plus the Patty McG bedroom scene you've been dreading. Here's the condescending and phony behind-the-scenes featurette we discuss on the episode. The Moonshine War Screenplay by Elmore Leonard, from his novel Directed by Richard Quine Released July 1970 Write to the Citizens Advice Bureau at adegreeabsolute dot gmail! Leave us a five-star review with your hottest Prisoner take on Apple Podcasts! Follow @NotaNumberPod! Our song: "A Degree Absolute!" Music and Lyrics by Chris Klimek Arranged by Casey Erin Clark and Jonathan Clark Vocals and Keyboards by Casey Erin Clark Guitar, Percussion, Mixing by Jonathan Clark Bass by Marcus Newstead  

Matthew McConaughey writes in his book, Green Lights,“Cool is a natural law. If it was cool for THAT time, then it is cool for ALL time. A fad is just a branch on Cool's trunk; a fashionable fling whose 15 minutes can never abide, no matter how long she trends to try. Cool stands the test of time, because cool never tries. Cool just is.” My friend Crazy Tony taught me about “cool” 45 years ago when we attended Broken Arrow High School together. Tony made a lot of money buying and selling old cars. I was known as Beatermaker because Tony was forever frustrated by my uncanny ability to drive a fabulous car and, within a week, make it look like a beater. “Beatermaker,” he said, “every guy who has found an old car in perfect condition believes he has found a gold mine. But it's almost never true. If a car wasn't highly desirable when it was new, no one wants it 20, 30, or 50 years later. But if a car was admired and desired on the day it was born, it will be cool forever, no matter what condition it's in.” That was the insight that made Crazy Tony tens of thousands of dollars when we were in high school. The passage of time, the recklessness of the human race, and the slow smokeless burning of decay make old things rare. But it it does not make them wonderful. Remarkable buildings and books and paintings and songs don't get better with age. They were wonderful the day they were born. I know it, Matthew McConaughey knows it, and now you know it. But what makes them wonderful?Wonderful things were touched by someone who knew the secret of wonder and how to capture it. When you know how to capture wonder, you carry it in your head, your heart, and your hands. You glitter when you walk. Isaac Newton knew how to capture wonder and he passed the secret of it forward in just 14 words. Countless millions have read those words and assumed Newton was talking about himself. He was not. Newton was giving you his most precious advice. He was telling you how to capture wonder. He was telling you how to glitter when you walk. In 1675, Newton wrote, “If I have seen further it is by standing on the shoulders of Giants.” Isaac Newton stood on the shoulders of Galileo, Kepler, and Copernicus in astronomy, Huygens, Euclid, Henry Briggs, and Isaac Barrow in math, Kepler and Descartes in optics, and Plato, Aristotle, and Maimonides in philosophy. Newton combined the insights of all these men and made them uniquely his own. Choose your giants. Stand on their shoulders. Repurpose the proven.Vincent Van Gogh stood on the shoulders of Monticelli and Hiroshige. Long after they were dead, they taught him how to paint. He studied their paintings, captured their wonder, and made it uniquely his own. Johnny Depp stood on the shoulders of Pepe Le Pew, the cartoon skunk, and Keith Richards of The Rolling Stones. They taught him how to become Captain Jack Sparrow. Depp studied their mannerisms, captured their wonder, and made it uniquely his own. I stand on the shoulders of John Steinbeck, Ernest Hemingway, Robert Frost, Asimov, Tolkien, Paul Harvey, and Edwin Arlington Robinson. They taught me how to write. In fact, I borrowed “the slow smokeless burning of decay” from Robert Frost and “glitter when you walk” from Robinson. They don't mind. Each of them stood on the shoulders of giants of their own choosing. Do you have time for me to give you one more example?In the rabbit hole you'll find “Summer Wine,” a hit song written by Lee Hazlewood that made the Billboard Hot 100 in 1967. When you listen to it, you will think it sounds like a movie score. This is because Hazlewood took three famous movie themes that don't belong together and made them fit. He captured their wonder and made it uniquely his own. Yes, cognoscenti, you understand. The 3 giants on whose shoulders Hazlewood was standing are obvious. First, you have Nancy Sinatra sounding like every Disney Princess in every Disney movie ever made. And then you...

Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. 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/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th