Podcasts about Leon Russell

Purchased by the legendary Leon Russell in a deal struck at the diner across the street, Tulsa's Church Studio has become an iconic piece of music history. All-time greats like Tom Petty, George Harrison, Eric Clapton, and Stevie Wonder recorded there while the former real-life church was used as the home of Shelter Records in the 1970s, and the walls still very much contain a musical soul. On this week's show we meet up with Teresa Knox, who revived the Church Studio after it had sat vacant for many years. Today it is a first-rate recording studio once again, as well as a key tourist destination for music fans. Church Studio's Carney Fest, a celebration of Leon Russell's top-hat showmanship and legacy as a godfather of the Tulsa Sound musical style and movement, takes place Saturday, May 3.   Also on this week's episode, the editors discuss some of the historical sites in Oklahoma they love to visit, and podvents triggers some old prom memories. 

"We skipped the light fandango, turned cartwheels 'cross the floorI was feeling kind of seasick, but the crowd called out for moreThe room was humming harder, as the ceiling flew awayWhen we called out for another drinkThe waiter brought a tray"Join me on this Holiday weekend as we skip the light fandango accompanied by 2 hours of great tuneage. Joining us are The Blue Dolphins, Love, Urge Overkill, Miles Davis, Yes, Patti Smith, Pat Metheny, Crosby Stills & Nash, Carole King, Leon Russell, John Coltrane, Van Morrison, The Blues Project, Art Garfunkel, Jefferson Airplane, The Smiths, XTC, Blind Faith, Tears For Fears, Joni Mitchell, Kenny Rankin, The Shangri-Las, Beatles, Tommy James & The Shondells, The Doors, Moody Blues and Procol Harum.

The 19th century Swedish philosopher and poet Henri Frederic Amiel wrote one of the most eloquent observations about music, saying “Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven.” If Amiel is right, and I have a feeling he is, then pairing Andrea Zonn and John Cowan in a setting where they can sing some of their favorite songs both old and new, is bound to take you at least a good part of the way to heaven. With their debut collaboration, the album Andrea Zonn & John Cowan Are The HercuLeons, the Nashville legends make the harmony part sound effortless, and with a cast of all stars behind them, have set their sights skyward. John Cowan and Andrea Zonn already had a harmonious relationship and had worked together in the decades leading up to now, but it was a quirk of having some more studio time together during the pandemic that set the stage for their first full length collaboration as band leaders. Here, Andrea and John detail that story behind their collaboration, as well as stories of their heroes like Leon Russell and Bill Monroe, and contemporaries like Tom Britt, their perspective on their own musical legacies, tales of their time in the shangri-la of western North Carolina's musical past, Green Acres Music Hall, and more, including music excerpts of songs from their new album. Andrea Zonn and John Cowan performing live Songs heard in this episode:“Face Of Appalachia“ by The HercuLeons, from Andrea Zonn & John Cowan Are The HercuLeons“Straight Up” by The HercuLeons, from Andrea Zonn & John Cowan Are The HercuLeons, excerpt“Resurrection Road” by The HercuLeons, from Andrea Zonn & John Cowan Are The HercuLeons, excerpt“Barbed Wire Boys” by The HercuLeons, from Andrea Zonn & John Cowan Are The HercuLeons, excerpt“Long Way From Home” by The HercuLeons, from Andrea Zonn & John Cowan Are The HercuLeonsNoteworthy but not mentioned in our interview is John Cowan's recent book Hold To A Dream: A Newgrass Odyssey, which features a foreword by HercuLeons' producer Wendy Waldman, and is built on a series of John's interviews with heroes like Kris Kristofferson, Rodney Crowell and Loretta Lynn as well as contemporaries like John Carter Cash. Thanks for being here! We hope you can help spread awareness of what we are doing. It is as easy as telling a friend and following this podcast on your platform of choice. You can find us on Apple here, Spotify here and YouTube here — hundreds more episodes await, filled with artists you may know by name, or musicians and bands that are ready to become your next favorites. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Jaclyn Anthony for producing the radio adaptations of this series on WNCW, where we worked with Joshua Meng, who wrote and performed our theme songs. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Informativo de primera hora de la mañana, en el programa El Remate de La Diez Capital Radio. Aviso naranja en Canarias: la borrasca Nuria traerá fuertes vientos y lluvias Gran Canaria, La Palma, Tenerife y otras islas afectadas por ráfagas de hasta 90 km/h y precipitaciones. Hoy hace 365 días el titular era: “Preocupación” en el Gobierno de Canarias y en la patronal hotelera por la protesta convocada en cinco islas contra la masificación …y hoy hace un año: El Gobierno canario declarará de urgencia el procedimiento para aprobar la ley del alquiler vacacional … y hoy hace un año: Madrid reitera que no devolverá la momia guanche a Tenerife. Hoy se cumplen 1.131 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 36 días. Hoy es miércoles 2 de abril de 2025. Día Mundial de Concienciación sobre el Autismo. El 2 de abril se celebra el Día Mundial de Concienciación sobre el Autismo declarado por la Asamblea General de las Naciones Unidas en su resolución A/RES/62/139, de 21 de enero de 2008, con el objetivo de contribuir a la mejora de la calidad de vida de las personas con autismo. Además, se quiere promover su inclusión como ciudadanos de pleno derecho en todos los ámbitos de la sociedad. El Autismo o Trastorno del Espectro Autista (TEA) es un trastorno de origen neurobiológico que afecta al funcionamiento del cerebro y el sistema nervioso y se presenta en las primeras etapas de la infancia. Esta condición se caracteriza por afectar la interacción con el mundo exterior, el contacto con las personas del entorno, así como problemas de comunicación verbal. 1792.- Primera acuñación del dólar estadounidense. 1854.- Empieza a publicarse en París "Le Figaro". 1917.- Primera Guerra Mundial: El Congreso de EEUU vota a favor de la entrada en la contienda junto a las potencias aliadas. 1933.- El que fue palacio de verano del rey Alfonso XIII en Santander se convierte en la Universidad Internacional de la Magdalena. 1934.- Manuel Azaña fundó el Partido Izquierda Republicana, del que fue designado presidente. 1939.- EEUU reconoce al nuevo Gobierno español de Franco. Antes lo habían hecho Francia y Gran Bretaña. 1940.- Publicación de "Poeta en Nueva York", de Federico García Lorca. 1951.- El general Eisenhower asume el cargo de comandante supremo de las fuerzas de la OTAN. 1982.- Tropas argentinas inician la ocupación de las islas Malvinas, bajo dominio del Reino Unido. 1995.- Don Juan Carlos y Doña Sofía comienzan en Manila la primera visita oficial de unos reyes españoles a Filipinas. 2005.- Falleció el Papa polaco Juan Pablo II (84 años), tras 26 años y medio de Pontificado. 2010.- La televisión deja de emitir en analógico en España. 2022: Alberto Núñez Feijoo es proclamado oficialmente presidente del PP español en sustitución de Pablo Casado. Santoral para el 2 de abril: Santos Francisco de Paula y Nicecio; Santa Teodosia. El tribunal de apelaciones de París emitirá una decisión sobre la condena contra Marine Le Pen en verano de 2026. Rusia golpea varias regiones de Ucrania con 2.000 drones y causa al menos dos muertos. La vicepresidenta de la Comisión afirma que la UE aplicará la legislación sobre redes sociales pese a la presión de EE.UU. Montero pide disculpas por sus declaraciones sobre la sentencia absolutoria de Alves y la presunción de inocencia. Las claves de la reforma que limitará la creación de nuevos centros universitarios. Juan Carlos I reclama a Miguel Ángel Revilla 50.000 euros por supuestas injurias y calumnias y le exige una rectificación. Canarias informa al Estado de que acoge a 5.485 menores migrantes no acompañados. El dato incluye a los solicitantes de asilo, pero no a los jóvenes que están a punto de cumplir la mayoría de edad ni a los que están en un vías de reagrupación familiar. El Gobierno canario solicita al Estado la financiación de la Policía Canaria Canarias solicita la convocatoria de la Junta de Seguridad con el Estado con el objetivo de avanzar hacia la equiparación del Cuerpo de Seguridad canario con el resto de policías autonómicas. El Estado sufraga la financiación de las policías autonómicas una vez pasen de 300 agentes. Los Mossos d'Esquadra, en Cataluña, o la Ertzaintza, en el País Vasco el Estado asume su financiación. 13.300 canarios faltan cada día al trabajo sin tener una baja médica La comunidad autónoma cierra 2024 como la segunda con mayor tasa de absentismo. El fenómeno se dispara un 50% desde que irrumpió la pandemia. La mesa de hostelería se suma a la huelga turística en Semana Santa en Canarias. CCOO espera que el paro convocado sea “histórico” porque está en juego la salud, el bienestar y la conciliación de los trabajadores del sector. Las Islas Canarias son uno de los destinos favoritos de los españoles y europeos para pasar la Semana Santa 2025. Canarias lideró en febrero las pernoctaciones extrahoteleras, que despegaron casi un 15%. Superó los 2,5 millones y registró la mayor ocupación del país, rozando el 90%. Rescatados cerca de El Hierro dos cayucos con 102 personas, entre ellas varios menores. 2 abril 1942. Nace el músico Leon Russell, cantante, compositor y pianista estadounidense que fue una figura importante en la música rock de los años 70 sobre todo. Trabajó con artistas como The Rolling Stones, Joe Cocker, Eric Clapton y Elton John.

Bienvenidos a La Diez Capital Radio! Están a punto de comenzar un nuevo episodio de nuestro Programa de Actualidad, donde la información, la formación y el entretenimiento se encuentran para ofrecerles lo mejor de las noticias y temas relevantes. Este programa, dirigido y presentado por Miguel Ángel González Suárez, es su ventana directa a los acontecimientos más importantes, así como a las historias que capturan la esencia de nuestro tiempo. A través de un enfoque dinámico y cercano, Miguel Ángel conecta con ustedes para proporcionar una experiencia informativa y envolvente. Desde análisis profundos hasta entrevistas exclusivas, cada emisión está diseñada para mantenerles al tanto, ofrecerles nuevos conocimientos y, por supuesto, entretenerles. Para más detalles sobre el programa, visiten nuestra web en www.ladiez.es. - Informativo de primera hora de la mañana, en el programa El Remate de La Diez Capital Radio. Aviso naranja en Canarias: la borrasca Nuria traerá fuertes vientos y lluvias Gran Canaria, La Palma, Tenerife y otras islas afectadas por ráfagas de hasta 90 km/h y precipitaciones. Hoy hace 365 días el titular era: “Preocupación” en el Gobierno de Canarias y en la patronal hotelera por la protesta convocada en cinco islas contra la masificación …y hoy hace un año: El Gobierno canario declarará de urgencia el procedimiento para aprobar la ley del alquiler vacacional … y hoy hace un año: Madrid reitera que no devolverá la momia guanche a Tenerife. Hoy se cumplen 1.131 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 36 días. Hoy es miércoles 2 de abril de 2025. Día Mundial de Concienciación sobre el Autismo. El 2 de abril se celebra el Día Mundial de Concienciación sobre el Autismo declarado por la Asamblea General de las Naciones Unidas en su resolución A/RES/62/139, de 21 de enero de 2008, con el objetivo de contribuir a la mejora de la calidad de vida de las personas con autismo. Además, se quiere promover su inclusión como ciudadanos de pleno derecho en todos los ámbitos de la sociedad. El Autismo o Trastorno del Espectro Autista (TEA) es un trastorno de origen neurobiológico que afecta al funcionamiento del cerebro y el sistema nervioso y se presenta en las primeras etapas de la infancia. Esta condición se caracteriza por afectar la interacción con el mundo exterior, el contacto con las personas del entorno, así como problemas de comunicación verbal. 1792.- Primera acuñación del dólar estadounidense. 1854.- Empieza a publicarse en París "Le Figaro". 1917.- Primera Guerra Mundial: El Congreso de EEUU vota a favor de la entrada en la contienda junto a las potencias aliadas. 1933.- El que fue palacio de verano del rey Alfonso XIII en Santander se convierte en la Universidad Internacional de la Magdalena. 1934.- Manuel Azaña fundó el Partido Izquierda Republicana, del que fue designado presidente. 1939.- EEUU reconoce al nuevo Gobierno español de Franco. Antes lo habían hecho Francia y Gran Bretaña. 1940.- Publicación de "Poeta en Nueva York", de Federico García Lorca. 1951.- El general Eisenhower asume el cargo de comandante supremo de las fuerzas de la OTAN. 1982.- Tropas argentinas inician la ocupación de las islas Malvinas, bajo dominio del Reino Unido. 1995.- Don Juan Carlos y Doña Sofía comienzan en Manila la primera visita oficial de unos reyes españoles a Filipinas. 2005.- Falleció el Papa polaco Juan Pablo II (84 años), tras 26 años y medio de Pontificado. 2010.- La televisión deja de emitir en analógico en España. 2022: Alberto Núñez Feijoo es proclamado oficialmente presidente del PP español en sustitución de Pablo Casado. Santoral para el 2 de abril: Santos Francisco de Paula y Nicecio; Santa Teodosia. El tribunal de apelaciones de París emitirá una decisión sobre la condena contra Marine Le Pen en verano de 2026. Rusia golpea varias regiones de Ucrania con 2.000 drones y causa al menos dos muertos. La vicepresidenta de la Comisión afirma que la UE aplicará la legislación sobre redes sociales pese a la presión de EE.UU. Montero pide disculpas por sus declaraciones sobre la sentencia absolutoria de Alves y la presunción de inocencia. Las claves de la reforma que limitará la creación de nuevos centros universitarios. Juan Carlos I reclama a Miguel Ángel Revilla 50.000 euros por supuestas injurias y calumnias y le exige una rectificación. Canarias informa al Estado de que acoge a 5.485 menores migrantes no acompañados. El dato incluye a los solicitantes de asilo, pero no a los jóvenes que están a punto de cumplir la mayoría de edad ni a los que están en un vías de reagrupación familiar. El Gobierno canario solicita al Estado la financiación de la Policía Canaria Canarias solicita la convocatoria de la Junta de Seguridad con el Estado con el objetivo de avanzar hacia la equiparación del Cuerpo de Seguridad canario con el resto de policías autonómicas. El Estado sufraga la financiación de las policías autonómicas una vez pasen de 300 agentes. Los Mossos d'Esquadra, en Cataluña, o la Ertzaintza, en el País Vasco el Estado asume su financiación. 13.300 canarios faltan cada día al trabajo sin tener una baja médica La comunidad autónoma cierra 2024 como la segunda con mayor tasa de absentismo. El fenómeno se dispara un 50% desde que irrumpió la pandemia. La mesa de hostelería se suma a la huelga turística en Semana Santa en Canarias. CCOO espera que el paro convocado sea “histórico” porque está en juego la salud, el bienestar y la conciliación de los trabajadores del sector. Las Islas Canarias son uno de los destinos favoritos de los españoles y europeos para pasar la Semana Santa 2025. Canarias lideró en febrero las pernoctaciones extrahoteleras, que despegaron casi un 15%. Superó los 2,5 millones y registró la mayor ocupación del país, rozando el 90%. Rescatados cerca de El Hierro dos cayucos con 102 personas, entre ellas varios menores. 2 abril 1942. Nace el músico Leon Russell, cantante, compositor y pianista estadounidense que fue una figura importante en la música rock de los años 70 sobre todo. Trabajó con artistas como The Rolling Stones, Joe Cocker, Eric Clapton y Elton John. - Sección de actualidad con mucho sentido de Humor inteligente en el programa El Remate de La Diez Capital radio con el periodista socarrón y palmero, José Juan Pérez Capote, El Nº 1. - En el programa El Remate de La Diez Capital Radio, presentamos una sección en la que se analiza la actualidad política nacional e internacional junto al analista político Manuel Fernández. A través de un enfoque crítico y documentado, abordan los temas más relevantes del panorama político, ofreciendo a los oyentes una visión clara y reflexiva de los acontecimientos que marcan la agenda informativa. - En el programa “El Remate” de La Diez Capital Radio, tuvimos el honor de recibir al prestigioso cocinero Pedro Nel, CEO del afamado restaurante Etéreo by Pedro Nel, ubicado en Santa Cruz de Tenerife. Durante la entrevista, Pedro Nel compartió su pasión por la gastronomía y su filosofía culinaria, basada en la calidad del producto, la creatividad y el respeto por la tradición. Nos habló sobre el recorrido de Etéreo, un restaurante que se ha consolidado como referencia en la alta cocina en Tenerife, y sobre los desafíos y satisfacciones que conlleva dirigir un establecimiento de tal calibre. El chef también nos adelantó algunas de las novedades que está preparando en su carta, siempre con una apuesta firme por la cocina de autor, combinando técnicas vanguardistas con sabores auténticos y de proximidad. Además, reflexionó sobre la importancia del sector gastronómico en Canarias y su evolución en los últimos años. La conversación estuvo llena de anécdotas, experiencias y consejos para los amantes de la cocina y los emprendedores del sector. Sin duda, una entrevista enriquecedora con uno de los grandes nombres de la gastronomía en Canarias. - Beatriz Cabañas desde Huasca en México y entrevista a Cristina Cortés autora del libro de los Duendes que afirma haber convivido con ellos. - En nuestro espacio de cocina canaria “Sin Vergüenza” en La Diez Capital Radio, contamos una vez más con nuestro cocinero de cabecera, Ramón Hernández, quien nos deleitó con una receta tradicional y llena de sabor: Papas, piñas y costillas con mojo de cilantro. Durante el programa, Ramón nos guió paso a paso en la preparación de este emblemático plato canario, explicando los secretos para lograr unas costillas jugosas, unas piñas tiernas y unas papas en su punto justo. Además, compartió su receta especial de mojo de cilantro, resaltando la importancia de los ingredientes frescos y locales para potenciar los sabores. Con su estilo cercano y sin complejos, Ramón hizo de esta sesión una auténtica fiesta gastronómica, demostrando que la cocina canaria es sinónimo de tradición, sabor y alegría. Una propuesta ideal para disfrutar en familia y mantener vivas nuestras raíces culinarias. - Entrevista en La Diez Capital radio a Dimple Melwani, Consejera Delegada de Turismo de Tenerife del Excmo. Cabildo Insular de Tenerife.

BMG recording artist/singer/songwriter and multi-instrumentalist A.J. Croce's new 11-track album, "Heart of the Eternal," will be released on March 7. Produced by Shooter Jennings (Brandi Carlile, Tanya Tucker), "Heart of the Eternal" will feature a selection of songs that journey from psychedelia to Philadelphia soul to Latin-infused jazz-pop. Croce, son of legendary singer/songwriter Jim Croce, has toured with/collaborated with such legends and luminaries as B.B. King, Willie Nelson, Ray Charles, Leon Russell, Allen Toussaint, Neville Brothers, Bela Fleck and Ry Cooder, to name a few, all while building up an acclaimed catalog that blurs the boundaries between blues, soul, rock & roll, Americana, and much more. In conjunction with "Heart of the Eternal," Croce's upcoming yearlong "Heart of The Eternal Tour" will kick off nationwide on February 20 at The Parker in Fort Lauderdale, Florida, through April 6 at the Opera House in Lexington, Kentucky (check A.J.'s website and local listings for additional performances to be announced in 2025). Tickets can be purchased for the "Heart of The Eternal Tour" at www.ajcrocemusic.com  "Heart of the Eternal" is the latest collection of Croce's songwriting and heart-on-sleeve emotion -- the follow up to his critically lauded cover album "By Request" -his first original body of work since 2017's "Just Like Medicine," which was hailed as "brilliant" by No Depression and a "fluid expression of sorrow and gratitude" by Pop Matters. Says Croce: "I've always felt that music is the heart of our humanity. It's the purest way to connect to one another. Every songwriter I've ever met has told me that they don't know where their greatest songs have come from. Maybe it's our dreams or subconscious that allow us to draw from that eternal well of creativity. I don't know the answer but I'm always looking for it. While stylistically diverse, this album is my search for the heart of the eternal." Recorded at the Sunset Sound in Los Angeles, California, Croce's 11th studio album features bassist David Barard (a Grammy-winner who performed with Dr. John for nearly four decades), drummer Gary Mallaber (whose credits include Van Morrison's Moondance and Tupelo Honey), and guitarist James Pennebaker (Delbert McClinton, Jimmie Dale Gilmore). The album was completed during Croce's downtime from his ongoing "Croce Plays Croce" tour-a widely celebrated run in which he performs classic songs from his late father Jim, along with his own material and a number of specially curated covers.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

"Seem like every time you stop and turn aroundSomething else just hit the groundBroken cutters, broken saws, broken buckles, broken lawsBroken bodies broken bones, broken voices on broken phonesTake a deep breath feel like you're chokin'Everything is broken."Well, not quite everything, please join me for 2 hours of fixing, joining us are Pat Metheny, Laura Nyro, The Doors, Rascals, Beatles, Chambers Brothers, Joe Farrell Quartet, War, Traffic, Dr. John, King Crimson, Love, John Lennon, J. Geils Band, Tim Buckley, Leon Russell, Ian Hunter & Bob Dylan.

BMG recording artist/singer/songwriter and multi-instrumentalist A.J. Croce's new 11-track album, "Heart of the Eternal," will be released on March 7. Produced by Shooter Jennings (Brandi Carlile, Tanya Tucker), "Heart of the Eternal" will feature a selection of songs that journey from psychedelia to Philadelphia soul to Latin-infused jazz-pop. Croce, son of legendary singer/songwriter Jim Croce, has toured with/collaborated with such legends and luminaries as B.B. King, Willie Nelson, Ray Charles, Leon Russell, Allen Toussaint, Neville Brothers, Bela Fleck and Ry Cooder, to name a few, all while building up an acclaimed catalog that blurs the boundaries between blues, soul, rock & roll, Americana, and much more. In conjunction with "Heart of the Eternal," Croce's upcoming yearlong "Heart of The Eternal Tour" will kick off nationwide on February 20 at The Parker in Fort Lauderdale, Florida, through April 6 at the Opera House in Lexington, Kentucky (check A.J.'s website and local listings for additional performances to be announced in 2025). Tickets can be purchased for the "Heart of The Eternal Tour" at www.ajcrocemusic.com  "Heart of the Eternal" is the latest collection of Croce's songwriting and heart-on-sleeve emotion -- the follow up to his critically lauded cover album "By Request" -his first original body of work since 2017's "Just Like Medicine," which was hailed as "brilliant" by No Depression and a "fluid expression of sorrow and gratitude" by Pop Matters. Says Croce: "I've always felt that music is the heart of our humanity. It's the purest way to connect to one another. Every songwriter I've ever met has told me that they don't know where their greatest songs have come from. Maybe it's our dreams or subconscious that allow us to draw from that eternal well of creativity. I don't know the answer but I'm always looking for it. While stylistically diverse, this album is my search for the heart of the eternal." Recorded at the Sunset Sound in Los Angeles, California, Croce's 11th studio album features bassist David Barard (a Grammy-winner who performed with Dr. John for nearly four decades), drummer Gary Mallaber (whose credits include Van Morrison's Moondance and Tupelo Honey), and guitarist James Pennebaker (Delbert McClinton, Jimmie Dale Gilmore). The album was completed during Croce's downtime from his ongoing "Croce Plays Croce" tour-a widely celebrated run in which he performs classic songs from his late father Jim, along with his own material and a number of specially curated covers.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

EPISODE 125: Marcella Detroit aka Marcy Levy, singer songwriter from Detroit Michigan is a multi instrumentalist, vocalist and producer and has penned hits for some of the greats including Eric Clapton, Al Jarreau, Belinda Carlisle, Chaka Khan and more. She was a 50% member of UK band Shakespears Sister being vocally featured on their mega hit “Stay”, which was number one on the UK charts for a record breaking 8 weeks. She's worked with iconic artists like Aretha Franklin, Elton John, Bette Midler, Leon Russell, Bob Seger. Currently pretending the music biz is viable! marcelladetroit.com Contact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

This week's guest is Fred Eltringham! If you listened to our recent episode with Sterling Laws, you heard Fred get a lot of love as one of Sterling's five picks—so it was an honor to finally have him on the show himself. And I gotta say…his voice is so soothing and calm. Puts mine to shame. Fred has been playing with Sheryl Crow since 2012, but his résumé also includes The Wallflowers, The Chicks, kd lang, Willie Nelson, Gigolo Aunts, Juliana Hatfield, Ben Kweller, and plenty more. He's a steady, calm ship at sea behind the kit, and it seems like songwriters line up around the block to work with him. In addition to his international touring with Sheryl, you can catch him on Instagram whenever he's doing something cool in Nashville—especially with Jules Belmont, as part of their tasty little instrumental group. So, please enjoy my chat with Fred Eltringham about the five records that shaped him into the musician he is today. Cheers! --- Get Your Copy of the Drummers on Drumming Book Today!

Over the past three decades, A.J. Croce has established his reputation as a piano player and vocal stylist who pulls from a host of musical traditions and anti-heroes — part New Orleans, part juke joint, part soul. From his 10 studio albums, it's clear that he holds an abiding love for all types of musical genres: Blues, Soul, Pop, Jazz, and Rock n' Roll. A virtuosic piano player, Croce toured with B.B. King and Ray Charles before reaching the age of 21, and over his career, he has performed with a wide range of musicians, from Willie Nelson to the Neville Brothers, to Béla Fleck and Ry Cooder. A.J. has also co-written songs with such formidable tunesmiths as Leon Russell, Dan Penn, Robert Earl Keen, and multi-Grammy winner Gary Nicholson. His albums have all charted on an impressive array of charts: Top 40, Blues, Americana, Jazz, College, and Radio 1. The Nashville-based singer/songwriter has landed 22 singles on a variety of Top 20 charts.  His songwriting and style has evolved from Jazz & Blues on his debut and sophomore albums, to the roots-rock of the more recent collaborative recordings like Cantos with Ben Harper, Twelve Tales with Allen Toussaint, and Just Like Medicine with Vince Gill. He recently toured with his show "Croce Plays Croce" where he paid tribute to his father, singer/songwriter Jim Croce.   

Jeg sætter fokus på en række pianister gennem tiden, lige fra Fats Domino og Jerry Lee Lewis som nogle af de tidlige rock ‘n' rollere, videre til nogle af de fremmeste i 70'erne, nævnes skal Leon Russell, Tom Waits, Billy Joel, Keith Emerson, Stevie Wonder med flere.

It was without question a natural progression. All of the attributes that country inherited from gospel, blues, and jazz resulted in what amounted to competition in the charts (and in some mid-century cultural clashes). Although The Beatles had suggested a kinship with mid-sixties tributes to Buck Owens and Chet Atkins, the only comfortable way to make the marriage work was to have it come from other directions…specifically from cultural prods of Nudie suits, coupled with folk and country nudges, and the inevitable respect for the music. Gram Parsons' influence on the late sixties rise of something they called ‘country rock' is easy to find but Dylan's John Wesley Harding album from 1968, The Byrds' Sweetheart of the Rodeo, and Leon Russell's alter-ego Hank Wilson opened the doors to a sound that swept the charts. We'll hear some originals, covers, and a whole lot more in this week's Deeper Roots. Hope y'all can join us.

Episode 307: It was 50 years ago this month that a 23-year-old Mickey Raphael felt his way through his first recording session with his relatively new band boss Willie Nelson. And it was no small thing, producing the iconic Red Headed Stranger. It was one event in a charmed life that set this Dallas musician on a path to the ultimate steady gig for more than 50 years, plus stature as the world's top on-call harmonica player. Raphael has played and recorded with Merle Haggard, Leon Russell, Don Williams, Emmylou Harris, Ray Charles, Bob Dylan, Paul Simon, Norah Jones, Wynton Marsalis, and even U2 and Motley Crue. In a session taped at WMOT's East Nashville satellite studio, we talk about it all.

Chris O'Dell has led a fascinating life; one that planted her firmly in rock royalty's inner circle in the 60s and 70s. Befriending Derek Taylor in LA, she soon found herself working for the Beatles' Apple Corps in London. While there she was present for the recording of The White Album, Abbey Road, Let it Be, and sang in the Hey Jude chorus. She sat on the rooftop while the Beatles played their last live performance in January of 1969 and even lived with George Harrison and Pattie Boyd at Friar Park. She went on to be one of the first - if not, THE first - female tour managers, working with the likes of George Harrison, The Rolling Stones, and Bob Dylan on his 'Rolling Thunder Revue' tour. She inspired George Harrison to pen the song, "Miss O'Dell,” she's the subject of Leon Russell's “Pisces Apple Lady” and “Hummingbird," she is the “woman down the hall,” in the Joni Mitchell song, “Coyote,” and her picture can be seen on the back cover of The Stones's 1972 masterpiece, Exile on Main Street. We cover a lot of ground in this episode, but to get the full story, check out her book and website with the links below: https://www.missodell.com Miss O'Dell: Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton and the Women They Loved Playlist: Pisces Apple Lady - Leon Russell Hey Jude - The Beatles All Things Must Pass - George Harrison Miss O'Dell - George Harrison Torn and Frayed - The Rolling Stones Just Like a Woman - Bob Dylan Follow My Rock Moment on Instagram: https://www.instagram.com/la_woman_rocks Learn more about your ad choices. Visit megaphone.fm/adchoices

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Ira Nepus, jazz and commercial trombonist from Los Angeles. About Ira: Ira Nepus was born in Los Angeles, California and was raised on the jazz heritage of his father, one of the key founders of the Hot Club of France in Paris during the late Thirties and was featured in his first jazz concert at the age of 15. Ira gives equal importance to all styles of jazz, from traditional on up through contemporary. Ira currently performs with the Clayton-Hamilton Jazz Orchestra, which he has been an original member of for over thirty-eight years, privately teaches, and performs in all major recording studios throughout the Los Angeles area. He also plays and tours periodically with his own quartet and continues to record in that format. He currently is artistic director for the Gardens of the World's Summer Jazz Series in Thousand Oaks, sponsored by the Hogan Family Foundation celebrating over 10 years of concerts in the Park. He has performed/recorded with Paul McCartney, Elton John, Leon Russell, Big Bad Voodoo Daddy, Elvis Costello, BB King, (Grammy Winner) and/or also recorded with some of the following greats: Benny Carter, Woody Herman, Del Courtney, Quincy Jones, Gerald Wilson, Nelson Riddle, Lionel Hampton, Ray Charles, Sammy Davis Jr, Ella Fitzgerald, Peggy Lee, Aretha Franklin, Diana Krall, and Cab Calloway to name a few.

The guys get an earful and an education on the Tulsa Sound and sketch comedy when a listener asks about Leon Russell’s drummer. Support the show on Patreon See the show on YouTube Visit the show on Instagram Visit the show on Facebook SHOW NOTES: https://kendrasteinereditions.wordpress.com/2021/02/08/gary-busey-discusses-leon-russell/ https://www.ranker.com/list/the-13-craziest-things-gary-busey-has-ever-done/carly-kiel https://www.nytimes.com/1978/07/23/archives/folksiness-is-gary-buseys-film-career-the-one-who-taught-me-poetic.html https://tvnews.vanderbilt.edu/broadcasts/113660 https://www.remindmagazine.com/article/21166/gary-busey-life-after-death-1988-accident-howie-mandel-podcast https://www.latimes.com/archives/la-xpm-1988-12-05-me-711-story.html https://www.upi.com/Archives/1989/03/01/Buseys-anti-helmet-stance-unchanged-despite-crash/5243604731600/ https://www.tumblr.com/uncle-gary-busey/190159738563/gary-busey-and-teddy-jack-eddy https://okma.fandom.com/wiki/Carp https://www.mazeppa.com/ https://www.okhistory.org/publications/enc/entry?entry=BU022 https://tulsatvmemories.com/mazeppa.html https://tulsatvmemories.com/chew.html https://tulsatvmemories.com/mazmurg.html Tulsa World article (1992): https://www.mazeppa.com/about-mazeppa https://thislandpress.com/2011/01/23/mazeppa-the-uncanny-film-festival-and-camp-meeting/ https://en.wikipedia.org/wiki/Jim_Halsey https://www.oklahoman.com/story/entertainment/columns/brandy-mcdonnell/2016/11/13/master-of-space-and-time-leon-russell-dies/60638176007/ https://en.wikipedia.org/wiki/Tulsa_sound https://thechurchstudio.com/leon-russell-going-back-to-tulsa-one-more-time https://en.wikipedia.org/wiki/Will_O%27_the_Wisp_(album) https://en.wikipedia.org/wiki/The_Buddy_Holly_Story

The guys get an earful and an education on the Tulsa Sound and sketch comedy when a listener asks about Leon Russell’s drummer… Support the show on Patreon. Follow us on Instagram. Check out the website. SHOW NOTES: https://kendrasteinereditions.wordpress.com/2021/02/08/gary-busey-discusses-leon-russell/ https://www.ranker.com/list/the-13-craziest-things-gary-busey-has-ever-done/carly-kiel https://www.nytimes.com/1978/07/23/archives/folksiness-is-gary-buseys-film-career-the-one-who-taught-me-poetic.html https://tvnews.vanderbilt.edu/broadcasts/113660 https://www.remindmagazine.com/article/21166/gary-busey-life-after-death-1988-accident-howie-mandel-podcast https://www.latimes.com/archives/la-xpm-1988-12-05-me-711-story.html https://www.upi.com/Archives/1989/03/01/Buseys-anti-helmet-stance-unchanged-despite-crash/5243604731600/ https://www.tumblr.com/uncle-gary-busey/190159738563/gary-busey-and-teddy-jack-eddy https://okma.fandom.com/wiki/Carp https://www.mazeppa.com/ https://www.okhistory.org/publications/enc/entry?entry=BU022 https://tulsatvmemories.com/mazeppa.html https://tulsatvmemories.com/chew.html https://tulsatvmemories.com/mazmurg.html Tulsa World article (1992): https://www.mazeppa.com/about-mazeppa https://thislandpress.com/2011/01/23/mazeppa-the-uncanny-film-festival-and-camp-meeting/ https://en.wikipedia.org/wiki/Jim_Halsey https://www.oklahoman.com/story/entertainment/columns/brandy-mcdonnell/2016/11/13/master-of-space-and-time-leon-russell-dies/60638176007/ https://en.wikipedia.org/wiki/Tulsa_sound https://thechurchstudio.com/leon-russell-going-back-to-tulsa-one-more-time https://en.wikipedia.org/wiki/Will_O%27_the_Wisp_(album) https://en.wikipedia.org/wiki/The_Buddy_Holly_Story https://www.barnesandnoble.com/w/petty-warren-zanes/1122597923

Those who have been paying attention might have noticed a recent movement in the cultural zeitgeist in remembrance of the great life and career of Norman-born musician Jesse Ed Davis. A good portion of those new attention paid toward a historically under-appreciated talent comes to use due to the work of historian and author Douglas Miller, whose book Washita Love Child: The Rise of Indigenous Rock Star Jesse Ed Davis is available for purchase now. Miller joins this week's episode of the podcast to talk about the immense musical legacy Davis left behind—having worked alongside the likes of Leon Russell, Paul McCartney, John Lennon, George Harrison, Eric Clapton, and more—and the many coming tributes to JED which include tribute concerts, a new archival record of unissued songs, and an exhibition at the Bob Dylan Center curated by Joy Harjo. Also on this week's episode, the editors discuss their ideal Thanksgiving dessert plate, and podvents lets us know where we can have an extravagant Thanksgiving meal without having to do any dishes afterwards. You won't want to miss it!

"It's kind of a cosmic gumbo, it almost moves to the beat of jazz" - Santa Claus on the film Detective CrashmoreWhat would cosmic gumbo be in music form? Today we answer that question with two fantastic albums. One that will blow your mind with its insane instrumentation and send you on a journey through the afterlife. The other will have you moaning the blues and rocking along with a cosmic preacher delivering a sermon about the state of the world in 1971. Both albums are made up of a variety of different influences that come together to form something greater than the sum of its parts, just like gumbo. Let's just hope it doesn't waste all over the car.Songs featured in this episode:Turkey Dog ComaDead Man's TetrisCoronus, the TerminatorJambalayaGoin' Down (Eastbound and Down Theme)It's a Hard Rain Gonna FallCrystal Closet QueenLittle Richard at the 1988 Grammy'sVideo of Leon Russell, Willie Nelson, and Ray Charles mentioned in the episodeShout to out two incredible sources used in the Leon Russell section:Leon Russell: The Master of Space and Time's Journey Through Rock & Roll History by Bill JanovitzPicnic: Willie Nelson's Fourth of July Tradition by Dave Dalton ThomasSend us a text message!You can follow us here: Instagram Twitter Tiktok Send us a message, we'd love to hear from you! Email is thegmspod at gmailLeave us a rating and review if you want to!Thanks for listening!

National hug a musician day. Entertainment from 1972. Vietnam Veterans Memorial opened, 5 Sullivan brothers killed in WW2 at Battle of Guadalcanal, Holland tunnel opened. Todays birthdays - Richard Mulligan, Garry Marshall, Joe Montegna, Chris Noth, Whoopi Goldberg, Steve Zahn. Leon Russell died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/The hug song - Zia MohajerjasbiI can see clearly now - Johnny NashShe's too good to be true - Charley PrideBirthdays - In da club - 50 Cent     http://50cent.com/Soap TV themeFantasy - Aldo NovaTight Rope - Leon RussellExit - It's not love - Dokken     http://dokken.net/Follow Jeff Stampka on facebook, linkedin and cooolmedia.com

"'Cause the free wind is blowin' through your hairAnd the days surround your daylight thereSeasons crying no despairAlligator lizards in the air, in the air"Well, there'll be no Alligator Lizards but lots of great tunes on this week's Super Sounds Of The 70's. Joining us are Patti Smith, David Bowie, Roxy Music, Jeff Beck, The Alan Parsons Project, Bob Dylan, Batdorf and Rodney, Leon Russell, Jonii Mitchell, Queen, Rockpile, Lou Reed, Stevie Wonder, Kenny Rankin, Talking Heads, Earth, Wind & Fire, Ian Hunter, The Kinks, Steely Dan, David Essex, Pino Donaggio, Doobie Brothers, Van Morrison and America.

Staci's guest is Chris O'Dell, the author of an incredible memoir called “Miss O'Dell.” Chris worked for Apple Corps and was in the studio when the Beatles recorded The White Album, Abbey Road, and Let It Be, and she sang in the Hey Jude chorus. She lived with George Harrison and Pattie Boyd and she's the subject of Leon Russell's song, Pisces Apple Lady. She's “the woman down the hall” in Joni Mitchell's song Coyote, the “mystery woman” pictured on the Stones album Exile on Main Street, and the Miss O'Dell of George Harrison's song. She's even in Staci's latest book, “Rock & Roll Nightmares: Phantom Chords,” which has a chapter on the haunted goings-on at Friar Park, where she lived when she was working for George Harrison. She has a lot to say about Bob Dylan, Eric Clapton, John and Yoko, and her upcoming "Miss O'Dell" documentary.

Titanic session guitarist talks about working at Muscle Shoals and with Bob Marley, The Rolling Stones and Leon Russell.

Seven years after our community was ravaged by three different wildfires, we're going to focus on the theme of rain in our show today. Call it a rain dance if you must but we're hoping that not only will the weather give us one more year of respite from the flaming torrent of climate change-induced wildfires but also make it two years in a row with reservoir replenishment. So why not a theme that promotes rainy weather? We'll go to every genre corner in the show today: gospel, jazz, country, rock ‘n roll, soul and rhythm & blues. Tune in for a themed collection this morning that includes the likes of Glenn Yarbrough, Percy Sledge, Leon Russell, Lonnie Johnson and Billy “The Kid” Emerson. There's a whole lot more so join in and find out. A sunny September morning leads us to our rain dance…or whatever you call it.

In this episode, we speak with Bassist/Vocalist of The Doobie Brothers,  John Cowan.  We discuss his current tour with The Doobies, his musical journey including his groundbreaking band in the 70's and 80's, The New Grass Revival, his solo career and his latest book "Hold To A Dream".

We are back! In their triumphant return to music podcasting, Julius and Danny discuss: their end of summer listening, individual explorations into the Grateful Dead and Oasis, and (unsurprisingly) current trends in rap, pop, and country.All of that before previewing what's to come in our first run of season 1. Here is a rundown of what we'll cover in the next batch of episodes:Fall"De La Soul is Dead" - De La Soul"Stardust" - Willie NelsonPlaylist: Pitching Samples - DRUMSDanny: Spotify - Apple Music - YoutubeJulius: Spotify - Apple Music - YoutubeCosmic Gumbo"Leon Russell and the Shelter People" - Leon Russell"You're Dead" - Flying LotusPlaylist: Music from MoviesDanny: Spotify - Apple Music - YoutubeJulius: Spotify - Apple Music - YoutubeOur New Deep Dive Series: 3 Album Runs Bruce Springsteen"Nebraska" > "Born in the USA" > "Tunnel of Love"J Dilla"Welcome 2 Detroit" > "Donuts" > "The Shining"Send us a text message!You can follow us here: Instagram Twitter Tiktok Send us a message, we'd love to hear from you! Email is thegmspod at gmailLeave us a rating and review if you want to!Thanks for listening!

Country Music Hall of Famer Lacy J. Dalton  The Queen of Country Music LACY'S BIO Lacy J. Dalton (born Jill Lynne Byrem on October 13, 1946 in Bloomsburg, Pennsylvania), is an American country singer and songwriter with a career that has spanned many decades and touched the hearts of millions of music fans. In March 2017 Lacy J Dalton was inducted into the North American Country Music Association International Hall of Fame, and in 2022 she was awarded a Lifetime Career Achievement Award from the Josie Music Awards, the largest independent music awards show in the country. She's one of the most instantly recognizable voices in music – the woman People Magazine called “Country's Bonnie Raitt.” From the first time Lacy J Dalton caught the public's ear, that soulful delivery, full of texture and grit, has been a mainstay of Country Music. When you sit to listen to a Lacy J Dalton album, you find yourself pulled in by the very power and heart of this vocalist, because she's not merely performing a ten-song set, she's bringing each and every tune to life. It's as if they were all written especially for her. Prior to recording with Harbor Records in 1978 as Jill Croston, she like many before her, held many jobs to survive and support her family. As a truck stop waitress and singer, she would wait tables and then take the stage to sing a few songs. In June 1979, Lacy J Dalton was signed by Columbia Records and quickly rose to national prominence with Crazy Blue Eyes, which she wrote with her longest friend, Mary McFadden, and which raced to #7 on the Billboard Country Charts.  Her hard work and dedication paid off in 1979 when she was awarded the Academy of Country Music's Top New Female Vocalist of the Year.   Lacy's success was powered not just by the artist's recordings, but by a stage show that truly electrified audiences. She quickly became one of the few women who could successfully open a show for the likes of Hank Williams, Jr., Willie Nelson, Merle Haggard or Charlie Daniels. Not only could she do it, but she left audiences across the country hollering for more. Her signature song 16th Avenue, became the Anthem for Nashville songwriters.  Her other hit records are legendary million-airplay cuts and include Crazy Blue Eyes, Takin' It Easy, Everybody Makes Mistakes, Hillbilly Girl with the Blues, Hard Times, and the worldwide hit Black Coffee. In addition to her Top New Female Vocalist award, she also brought home numerous Grammy nominations and 3 prestigious, back to back (1979, 1980, 1981) Bay Area Music Awards for Best Country-Folk Recordings. Lacy appeared on those shows with the likes of Neil Young, The Grateful Dead, Grace Slick and the Jefferson Airplane. Lacy's collaboration with Willie Nelson on his platinum Half Nelson CD was a high spot for her. Lacy is the only woman featured on that recording (which included singing legends Ray Charles, Neil Diamond, Merle Haggard, Julio Iglesias, George Jones, Leon Russell, Carlos Santana, Mel Tillis, Hank Williams Sr., and Neil Young), and was awarded a Platinum Record for it. She also received a Gold Record from Hank Williams Jr. in 1985 for her support performances throughout his Five-0 Tour, where she opened for him at a time when it was unusual for a woman to do so. Her career includes accomplishments in music, film and radio.  In music, they range from her instantly recognizable charted hit songs to her notable duets recorded with George Jones, Willie Nelson, Bobby Bare, Glen Campbell, Eddie Rabbit, David Allen Coe and many others. Her film debut was in the motion picture Take This Job And Shove It, and her acting has also included live stage and theater performances. Until recently, Lacy J Dalton also hosted a weekly radio show called Mustang Matters.  Podcasts of past shows are available to listeners on the internet at www.americamatters.us Following a successful career in country music, Lacy decided to draw on all her musical experiences including country, rock and folk, and cross over into the Americana genre.  This blend of musical styles allows her to express herself in a way that demonstrates all the facets of who she is as a singer/songwriter.  She became an independent artist and formed her own label called Song Dog Records.  Under this label, she has released three albums to date.  The first was Wild Horse Crossing in 1999, followed by the Last Wild Place Anthology which went #1 on the World Independent Chart, and a year later went #1 on the American Western Music Chart. Then Allison Eastwood, Clint Eastwood's daughter, used the hit song Slip Away from the Anthology CD on the sound track of her independent film, Don't Tell. In 2010 Lacy also released a tribute to Hank Williams Sr. entitled Here's To Hank. Today, Lacy continues to record new music and perform live shows whenever possible.  She tours mainly west of the Mississippi and loves small boutique venues and old theaters with great sound quality and warm, receptive audiences she can really connect with.  She recently recorded some electrifying new music for an EP that was released in January 2019.  When hearing the signature song Scarecrow, her good friend Reverend Barbara Ann Fletcher remarked “that song makes you a whole new you, and it makes me a whole new me.”  And that's exactly the response Lacy was hoping for. In addition to her musical career, Lacy has been involved in various service projects through several charitable organizations – namely, the Let ‘em Run Foundation, William James Associates Arts in Corrections, and Rotary International.  In 1999, Lacy co-founded the Let ‘em Run Foundation which received its 501(c)3 designation from the IRS in 2004.  The Let 'em Run Foundation is dedicated to rescuing, rehabilitating and re-homing America's wild horses and burros who have no voice.  Let ‘em Run's mission is to serve as an educational, fund-raising and public relations entity, through its own efforts and in assisting similar non-profit organizations, to promote the appropriate and compassionate management of the wild horse, estray horse, and mustang population of the U.S. and other species of endangered or mistreated animals.  From 2015 through November 2018, Lacy and her partner, Dale Poune, worked with the William James Arts in Corrections program at High Desert State Prison in Susanville, California.  Their work there has been focused on teaching basic song writing skills and techniques, music theory and guitar playing to level 4 inmates.  Through their classes, a select group of inmates got the opportunity to learn the basic principles of guitar playing and song writing which they then used to develop songs and lyrics, both individually and as a group.  The class culminated with the inmates recording those musical compositions and giving a live performance to an audience of prison and non-prison personnel.  In addition, several inmates were able to go on to teach basic guitar to other inmates in the classic “each one teach one” teaching tradition. Finally, Lacy is an honorary member of the Rotary Club of Reno, and a Paul Harris Fellow.  Lacy has written two songs for Rotary, which she then recorded on a CD to be used as a fundraising opportunity for the Reno club.  Lacy also performed at the Rotary International Convention in New Orleans in 2011, and has been a key note speaker and headline performer at several club meetings and district conferences.

"From Steel Pulse to Wu-Tang: A Festival of Musical Diversity"Larry Mishkin discusses a review of various experiences and performances, starting with a cannabis event called "Miracle in Mundelein," which took place over the past weekend. The main focus of the review is a discussion of a Grateful Dead show from September 9, 1987, at the Providence Civic Center in Rhode Island. The show was notable for being the second night of a three-show run, marking the opening of the Grateful Dead's 1987 East Coast fall tour.Key highlights include:"Hey Pocky Way" Performance: This was the first time the Grateful Dead performed the song "Hey Pocky Way," which is originally by the Meters, a New Orleans funk band. The song became a fan favorite, primarily due to the influence of Brent Mydland, the band's keyboardist. However, the song fell out of rotation after Brent's death in 1990."Jack Straw" Performance: Another song featured was "Jack Straw," a Grateful Dead classic written by Bob Weir and Robert Hunter. It was originally performed in 1971 and became a staple in the band's setlists. The song was performed in the second spot of the setlist during the 1987 show, indicating the band's tendency to feature it early in their concerts.Music News Segment: The transcript also includes a segment on music news, which starts with a brief history of the band Cheap Trick, particularly their song "I Want You to Want Me."Review of the Miracle in Mundelein Festival: The review shifts to discussing the recent "Miracle in Mundelein" festival, where several acts performed:Steel Pulse: A roots reggae band from Birmingham, England, who delivered a lively and energetic performance.The Soul Rebels: A New Orleans brass band known for their energetic live shows and collaborations with major artists. Their set featured Raekwon and GZA from the Wu-Tang Clan, adding a strong hip-hop element to the performance.Wiz Khalifa: The headliner of the event, Wiz Khalifa, is praised for his stage presence and connection with the audience. The review notes his strong advocacy for cannabis and how his music resonated well with the crowd.Overall, the review captures the blend of nostalgia with the Grateful Dead's classic performances and the fresh, dynamic energy of the Miracle in Mundelein festival, highlighting both the music and the culture of cannabis.https://www.cheaptrick.com/ Grateful DeadSeptember 9, 1987 (37 years ago)Providence Civic CenterProvidence, Rhode IslandGrateful Dead Live at Providence Civic Center on 1987-09-09 : Free Borrow & Streaming : Internet Archive Second night of a three show run, the opening shows of 1987 East Cost fall tour.  INTRO:                                 Hey Pocky Way                                                Track #1                                                :35 – 2:03 First time ever played Hey Pocky Way was written by George Porter Jr., Leo Nocentelli, Art Neville & Joseph Modeliste, founding members of The Meters, an American funk band formed in 1965 in New Orleans by Modeliste (drums), Porter Jr. (bass), Nocentelli (guitar) and Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Song was released on Rejuvenation the band's fifth studio album in 1974. In 2003, the album was ranked number 138 on Rolling Stone magazine's list of the 500 greatest albums of all time,[6] and 139 in a 2012 revised list. Beginning with this show, the Dead began to feature Hey Pocky Way, usually as a show opener.  Sung by Brent who really got into it with both his keyboard playing and strong singing, it  became a fan favorite.  But as a Brent influenced tune, it died when he did. Played:  25 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (Brent's second to last show)  SHOW No. 1:                    Jack Straw                                                Track #2                                                4:00 – 5:50 "Jack Straw"  written by Bob Weir and Robert Hunter. The track first appeared on the album Europe '72. The song was first performed in concert on October 19, 1971, in Minneapolis, Minnesota at new keyboardist Keith Godchaux's first appearance with the band. In the song's earliest performances (c. 1971–72), Weir sang all of the vocals. By the time the 'Europe 72' version was recorded, (at the Olympia Theater in Paris on 5-03-72), Weir and Jerry Garcia were switching up the vocals - as they had on April 26th when 'Hundred Year Hall' was recorded. The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.[1] Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.[3] Always a great song to hear in concert, the fans loved it and it was always an omen of good things to come in the show. Played:  477 timesFirst:  October 19, 1971 at Northrop Auditorium, Minneapolis, MN, USALast:  July 8, 1995 at Soldier Field in Chicago MUSIC NEWS Miracle In Mundelein – second year of the festival in Mundelein a suburb northwest of Chicago.  Missed last year with JRAD but made it this year on Saturday with my sons Jonathan and Daniel, Jonathan's fiancé, Bella and Daniel's buddy AJ.  Different theme to this year's music focusing on hip hop and rap, not part of my regular music, but certainly a key genre for Daniel and AJ who filled me on details during the show. Acts:Steel Pulse - Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil's brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album. They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970's, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976.[1] Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement,[1] including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Fun set that was in progress when we arrived, great sound and lots of energy that kept the crowd moving. The Soul Rebels - The Soul Rebels (also Soul Rebels Brass Band, Soul Rebels or The Rebels) are an eight-piece New Orleans based brass ensemble that incorporate elements of soul, jazz, funk, hip-hop, rock and pop music within a contemporary brass band framework.  Starting out as a local New Orleans favorite, The Soul Rebels have evolved into collaborating live with major artists in all worlds of music including:Katy PerryNasMetallicaGreen DayTrombone ShortyProdigyString Cheese IncidentUmphrey's McGeeGalacticSuzanne VegaEurythmicsLettuceGov't Mule                                               And many more The band has built its career around an eclectic live show that harnesses the power of horns and percussion in a funky party-like atmosphere. The band routinely plays over 250 shows a year. They have been described by the Village Voice as "the missing link between Public Enemy and Louis Armstrong.  The Soul Rebels consist of percussionists and founding members Lumar LeBlanc and Derrick Moss, trumpet players Julian Gosin and Marcus Hubbard, trombonists Corey Peyton and Paul Robertson, saxophonist Erion Williams, and sousaphonist Manuel Perkins Jr.                                                 On Saturday, they featured Raekwon and GZA from Wu Tang Clan.                                      RAEKWON - Corey Woods[2] (born January 12, 1970),[3][4] better known by his stage name Raekwon (/reɪˈkwɒn/, ray-KWON), is an American rapper. He rose to prominence as a founding member of the hip-hop group Wu-Tang Clan, which achieved mainstream success following the release of their debut album, Enter the Wu-Tang (36 Chambers), in 1993. Raekwon would subsequently pursue a solo career, releasing his first solo album, entitled Only Built 4 Cuban Linx..., in 1995. The album received critical acclaim, and is regarded by many critics as one of the greatest hip-hop albums of all time, as well as a staple of 1990s rap.                                     Raekwon attributes the name Raekwon to the Five-Percent Nation, an offshoot of the Nation of Islam, when he was a "young kid."[11] He converted to Islam in 2009.                                     Growing up, he witnessed his mother being hit and abused by different men, an experience which he said "affected [him] a lot."[10] As a young man, his mother kicked him out of their Park Hill home when Raekwon got into an argument with her boyfriend and his mother sided with the boyfriend. During this time, he spiraled into a pattern of hopelessness and violent behavior.[8] He became addicted to cocaine and crack cocaine until he became aware of how the crack epidemic was affecting those around him, at which point "it was an automatic stop."[10]Raekwon and rap partner Ghostface Killah attended junior high school together on Staten Island.[14] Raekwon attended New Dorp High School, where he befriended rappers Remedy, Method Man and Inspectah Deck.[15]             Woods first rapped as Sha Raider. In 1992, he joined the Wu-Tang Clan, an originally nine-member rap group drawing mainly from the Staten Island but also from the Brooklyn boroughs of New York City. He rapped as Raekwon The Chef, and also used the aliases Lex Diamonds, Shallah Raekwon, and Louis Rich. After being caught in a crossfire and accidentally shot four times, Raekwon began rapping in earnest. He later described being shot as an "important eye opener." In September 2009, MTV ranked Raekwon tenth among "hottest" rappers. In December, HipHopDx's 2009 awards named Only Built For Cuban Linx... Pt. II album of the year, calling it "the Hip Hop equivalent to The Godfather 2, with Rae as revitalized as Marlon was". Raekwon won Emcee of the Year—the prior year, Nas won—while HipHopDX staff explained, Raekwon brought it back to lyrical, dope rap. He released an album that spoke to teens, twenty-somethings, thirty-somethings, and beyond. Without compromising, the Chef made an edgy Hip Hop record that refused to bastardize the catalog he laid down 15 years ago. On top of that, Rae (along with Ghostface) was a go-to for numerous rappers making albums, ranging from the Playaz Circle to Jadakiss to BK One. That's beyond real, as was a year filled with performing in arenas, clubs and even churches. When it came to mastering the ceremony, Rae had 'em all following the leader.[28]— HipHopDX GZA - Gary Eldridge Grice[2] (born August 22, 1966), better known by his stage names GZA (/ˈdʒɪzə/JIZ-ə) and The Genius,[3] is an American rapper. A founding member of the hip hop group Wu-Tang Clan, GZA is the group's "spiritual head", being both the first member in the group to receive a record deal and being the oldest member.[4] He has appeared on his fellow Wu-Tang members' solo projects, and has maintained a successful solo career starting with his second album Liquid Swords (1995). His lyrical style often dismisses typical rap story lines in favor of science and wide-ranging philosophies and has been characterized as "armed with sharp metaphors and a smooth flow".[5][6][7][8] An analysis of GZA's lyrics found that he has the second largest vocabulary in popular hip hop music.[9][10] He teamed up with an education group to promote science education in New York City through hip hop. In 1992, GZA joined the Wu-Tang Clan, a group of nine, formed by his cousin RZA. GZA had some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers) (1993), including a solo track, "Clan in da Front".[22] This, combined with appearances on other Clan members' albums such as Return to the 36 Chambers: The Dirty Version (1995) and Only Built 4 Cuban Linx... (1995) brought him much recognition. According to Method Man, "we form like Voltron and GZA happens to be the head".                         The combination of the Soul Rebels beat and Raekwon's and GZA's rapping made for an exceptional set of music that caught me off guard but was worth the price of admission.  With lots of cannabis references scattered throughout their lyrics and stage talk, they were a perfect match for this festival. Wiz Khalifa - Cameron Jibril Thomaz (born September 8, 1987),[2] better known by his stage name Wiz Khalifa, is an American rapper from Pittsburgh, Pennsylvania. He signed with the local independent label Rostrum Records to release his debut studio album, Show and Prove (2006). His contract entered a short-lived joint venture with Warner Bros. Records the following year. His Eurodance-influenced 2008 single, "Say Yeah" received urban radio airplay and entered both the Rhythmic Top 40 and Hot Rap Songs charts, becoming his first minor hit.[3] Outside of music, Thomaz has delved into acting with television roles in Dickinson and The Eric Andre Show, the lead role alongside Snoop Dogg in the 2012 stoner comedy film Mac & Devin Go to High School, and voice roles in the animated series American Dad!, Duncanville, and Big City Greens. Thomaz founded the record label Taylor Gang Entertainment in 2008, through which he has signed artists including Juicy J, Ty Dolla Sign, and Berner. Known for his abundant usage of cannabis, Thomaz launched his own cannabis brand, Khalifa Kush, in 2016, which expanded for release in nationwide dispensaries in 2022. His stage name is derived from Khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was a young boy.[10] Khalifa stated to Spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got a tattoo of his stage name on his 17th birthday.[11][12] By the age of 15, he was regularly recording his music at a local studio called I.D. Labs.[13] Impressed by the young teen's talent, E. Dan, the owner of the studio offered Khalifa an intern job at the studio in exchange for free recording time. Dan, being a veteran of the Pittsburgh hip-hop scene, would help develop and mentor the young artist early on in his career. He was the headliner and lived up to the billing.  Great tunes, great stage presence, great spokesperson for cannabis.  My first experience with his music and it was very positive. A great musical education for me with my tutors, Daniel and AJ. More in MJ News  Herbie Flowers  RIPJerry Miller  RIPGoose this week at the Salt Shed, Thursday and Friday   SHOW No. 2:                    Greatest Story Ever Told                                                Track #9                                                3:25 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #10                                                0:00 – 1:33 Greatest Story – written by Hunter/Bobby/Mickey, originally called “The Pump Song” on Mickey Hart's 1972 album Rolling Thunder.  As the opening tune of Ace, it is called Greatest Story Ever Told.  But this isn't about that song.  Here, it is the lead-in to a first set couple of “extras” thrown in for some fun. "Devil with a Blue Dress On" (also known as "Devil with the Blue Dress") is a song written by Shorty Long and William "Mickey" Stevenson, first performed by Long and released as a single in 1964. A later version recorded by Mitch Ryder and The Detroit Wheels in 1966 peaked at No. 4 on the U.S. Billboard Hot 100.  "Devil with the Blue Dress" was originally released as Shorty Long's debut single on Motown in 1964, but the single failed to chart. The song describes a femme fatale in a blue dress and not an actual devil.[2] Two years later, Mitch Ryder and The Detroit Wheels recorded the song at Bell Sound Studios in New York City[3] as a medley with an original arrangement of Little Richard's "Good Golly, Miss Molly". Their version, released on their album, “Breakout . . . . !”,  was notably more up-tempo than Long's more blues-influenced rendition.[2] Reaching No. 4 on the Hot 100, their version of the track would end up becoming their most well-known and highest charting hit in the United States. Rolling Stone Magazine ranked it No. 428 on their list of Top 500 Songs of All Time. Basically, another great cover to showcase Brent's singing and keyboard skills.  This was the first of 3 times the Dead covered the song.  Another fun diversion by the band that kept the Deadheads guessing and not wanting to ever miss a show. The transition out of Greatest Story is seamless and makes it so you can't hear the end of Greatest Story without hearing the signature beat of Devil making it a “natural” fit. Played – 3 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  SHOW No. 3:                    Good Golly Miss Molly                                                Track #11                                                0:00 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #12                                                0:00 – 0:51"Good Golly, Miss Molly" is a rock 'n' roll song first recorded in 1956 by American musician Little Richard and released in January 1958 as single on the Specialty label, and later on the album, Little Richard in July 1958.[1] The song, a jump blues, was written by John Marascalco and producer Robert "Bumps" Blackwell. Although it was first recorded by Little Richard, Blackwell produced another version by the Valiants, who imitated the fast first version recorded by Little Richard, not released at that time. Although the Valiants' version was released first (in 1957), Little Richard had the hit, reaching No. 4.[2] Like all his early hits, it quickly became a rock 'n' roll standard and has subsequently been recorded by hundreds of artists. The song is ranked No. 92 on the Rolling Stone magazine's list of the 500 Greatest Songs of All Time. Little Richard first heard the phrase "Good golly, Miss Molly" from a Southern DJ named Jimmy Pennick.[4] He modified the lyrics into the more suggestive "Good golly, Miss Molly/You sure like to ball." Little Richard himself later claimed that he took Ike Turner's piano intro from his influential 1951 rock and roll song "Rocket 88", and used it for "Good Golly, Miss Molly".[5] "I always liked that record," Richard recalled, "and I used to use the riff in my act, so when we were looking for a lead-in to 'Good Golly, Miss Molly', I did that and it fit." In 1966, Mitch Ryder and the Detroit Wheels incorporated "Good Golly Miss Molly" into their version of "Devil with a Blue Dress On". Their version scored a major hit, not only in Ryder's native Detroit, but nationwide, placing at No. 4 on the Billboard Top 100. As with Devil, a Brent thing.  Unfortunately, it was only around for a month.  Then vanished from the Dead's playlist thereafter.  Played:  3 times, makes senseFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  MJ NEWS:             Miracle in Mudelein – a great event sponsored by Rise Dispensaries and Rhythm cultivators.  Second year, featuring great music, excellent food and drink and too many booths for dabbing from various types of rigs including a Studenglass Gravity Bong – my first time using one and it is not your father's four foot Graffix bong!  Daniel and AJ were all over it and as it turned out, the wait in line was well worth the experience.  Rather than try to explain it to you, just Google Gravity Bong and see for yourself!  Great high.             Miracle is that Lake County, a more conservative leaning county, and Mundelein permitted the event.  Attendees can bring in their own flower or extracts (supposedly only if purchased at an Illinois dispensary), smoking accessories, etc.  Rise also was selling products at the show.             A wonderful thing to attend an event and not have to hide and smuggle in your cannabis.  People lighting up everywhere, offering to share, talking strains, etc.  Police were there to keep order and otherwise let it all go on.  Very professional.             Excellent mellow crowd (what else would you expect?).  Well run.  Shot joints out of a canon.  A wonderful day and experience for those who enjoy cannabis, especially not having to hide it or pretend you don't have any when everyone knows attendees are smuggling it in anyway.             A great way to promote cannabis and help normalize it within the community.  And a fun event to be able to share with my boys, Bella and AJ.  Fun had by all.  SHOW No. 4:                    Not Fade Away                                                Track #24 (NOTE – this song is listed as Track #23 AND #24, be sure to use #24)                                                0:00 – end "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets. Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, "Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" on 10.27.1957 and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The song is closely associated with the Grateful Dead as one of their signature tunes—one which the band transformed from Holly's 1950s boy/girl romanticism to one reflecting the 1960s' more spiritual universal love. Their 1971 recording of the song is included on their second live album, Skull and Roses, paired with Going Down The Road Feeling Bad, a regular happening in the early ‘70's. Primarily a second set tune that used to show up in the second half of the second set after Drums-Space.  Beginning in 1983, the Dead began to play it as the second set closer, trailing off with “Love is real will not fade away” as they exited the stage.  A few years later, the Deadheads starting chanting the line as the Dead left the stage and in some cases, kept it up until the band reappeared for their encore, when the band would pick back up on the beat and play it for another minute or so before their encore tune, such as with this show.    Great example of the Deadheads making their mark on the show and the band being tuned in enough to play along with it.  Although sometimes if the Dead took too long to come out for the encore, the chanting would start to fade off.  And sometimes even when the chant made it all the way to the band's return on stage, the band would ignore it and just dive straight into their encore.  Fun when it all came together like this show. Played:  561 timesFirst:  February 19, 1969 at Fillmore West, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis) OUTRO:                               The Mighty Quinn                                                Track #25                                                2:11 – 3:48 Bob Dylan wrote and first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years.  The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, from their album Mighty Garvey, and became a great success. A demo of 14 of the 1967 Basement Tapes recordings, including the first of two takes of "Quinn the Eskimo (The Mighty Quinn)", was produced in 1968, but was not intended for release. Recordings taken from the demos began appearing on bootlegs, starting with Great White Wonder,[7] a double-album bootleg that came out in July 1969. The first official release of the song was in 1970 on Dylan's Self Portrait album,[14] a live recording from 1969's Isle of Wight Festival. The live version (titled "The Mighty Quinn (Quinn the Eskimo)") was also selected in 1971 for the second compilation of Dylan's career, Bob Dylan's Greatest Hits Vol. II. Covered by:  the Hollies, Leon Russell and Phish, among others. Although they never played the song with Bob Dylan, the Grateful Dead started playing "The Mighty Quinn" in concert in 1985. It became a favorite encore among the Grateful Dead's fans, and remained so to the end of their career. Last verses, end with, “when Quinn the Eskimo gets here, everybody's gonna want to doze” but the Deadheads heard it as “dose” and always gave it a big cheer. Played:  59 timesFirst:  December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  Shoutouts: Lary Vinocur – birthdayElena Mishkin – birthday .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

It's a mellow, laid back collection of sounds from the past century for you this morning. The “ember” months have arrived and we're winding our way through the last sunsets of summer. So lay down your burdens and join us on another Deeper Roots Friday morning as we share some sweet sounds from near and far, all anchored in an American landscape of dreams and waning nights of warmth. And warmth is what we'll focus on…from JJ Cale and Leon Russell to Leo Reisman's Orchestra, Sam Cooke, Randy Newman and Levon Helm. All of this and more, as they say, as we approach the final two months of election promises. I'm hoping that everyone's placed a high value on truth and goodness because the hate, the lies, the gutter talk all need to be evaporated at long last. Send the vermin back into their holes of hate and let's get on with the business of making our lives better. Because it's not politicians that can do that. It's us. 

Mary Jenifer Mitchell and I discussed her early Tv favorites Liberace and Oral Roberts; going to NY after high school graduation; spending the summer of '66 in NYC; going to college in Colorado and dropping out; moving to NYC to be an actress in 1967; becoming friends with Michael O'Donoghue; not trying out for SNL b/c she was visiting her injured sister; being part of the Tom Eyens Eye Repertory Company; being naked in The Dirtiest Show in Town; getting cast in Milos Formans' Taking Off; performing Ode to a Screw in the film; being in Oh, Calcutta; getting fired when she asked to be paid the same; being nude on stage; working with Carly Simon and Kathy (then Bobo) Bates; being in National Lampoons Foto Funnies; her friendships with Anne Beatts, Sean Kelly, and Brian McConnachie; Lemmings; Alice Playten; breaking her foot and getting fired; combative nature of production; playing Joan Baez; Christopher Guest being hard to work with but a great friend after; Chevy Chase and John Belushi; being an extra in SNL sketches Bee Capades and Hey You!; the film Foreplay; Pat Paulsen; Terry Southern; appearing in Manhattan Cable Access in 1977; the film Pelvis; the play Playing with Fire were she plays a mute prostitute; John Belushi's funeral; her love for Leon Russell; a documentary about her; finding out she's allergic to Quaaludes with John Belushi; and her surgeries.

"And the caravan is on it's way, I can hear the merry gypsies playMama mama look at Emma Rose, She's a-playin with the radioLa, la, la, la...Turn it up, turn it up, little bit higher radioTurn it up, turn it up, so you know, radioLa, la, la, la...Terrific advice for a warm August afternoon wherever you are. Please join me and my guests Dylan LeBlanc, Billy Cobham, Janis Joplin, Ray Lamontagne, The BoDeans, Chicago, Lyle Mays, Foo Fighters, Graham Nash, Ben Folds, Bruce Springsteen & The E Street Band, Elton John, Marc Cohn, Mott The Hoople, Randy Newman, Leon Russell, Leslie West Mountain, Derek & The Dominos, William DeVaughn, Blood Sweat & Tears, Temptations, Charles Wright & The Watts 103rd St Rhythm Band and Van Morrison...

Join @thebuzzknight for this episode with Bill Janovitz from the alternative rock band Buffalo Tom. Bill is also the author of a number of music books including ones that have focused on Leon Russell and The Rolling Stones.  If you have questions or comments, write buzz@buzzknightmedia.com. Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like this show? Leave us a review. Review  Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Albums and All That, Starting with the letter S as in Sierra, Part 9 From Something to Shout About (Lulu) to Sophisticated Boom Boom (Dead or Alive) Oh hey, by the way... there is now a Vinyl-O-Matic Patreon (https://patreon.com/youroldpalwill) Lulu with The Luvvers [00:30] "Chocolate Ice" Something to Shout About Decca LK 4719 1965 Hey hey hey! It's Lulu! This is her debut album. Despite what you might guess from her voice, she was 17 when she recorded this album. "Chocolate Ice" is the excellent title song to the very weird Gonks Go Beat (https://youtu.be/XhozBIMplQA?si=ULHH1FdCqSWJPyJ5) (Hartford-Davis, 1964), featuring Lulu and The Luvvers, The Nashville Teens, and the Graham Bond Organisation Todd Rundgren [02:40] "Hello It's Me" Something / Anything? Bearsville 2BX 2066 1972 Rundgren's 3rd solo album, spreading his musical wings a bit more than previous releases. Todd had originally written the song as a very mellow ballad with the Nazz in 1967, and was released as a b-side (https://youtu.be/FmLnDL_pNZQ?si=enMwjWzgNe_iplus) to their psyche rocker "Open My Eyes". Usually I'd go with the power pop progenitor "Couldn't I Just Tell You (https://youtu.be/fosMLTCFKQ8?si=Dgn25DMa61xCFRbJ)", but well, I'm feeling more mid-tempo at the moment. Jimmy Buffett [07:29] "Cheeseburgers in Paradise" Son of a Son of a Sailor ABC Records AA-1046 1976 Let me be perfectly clear: I am not now, nor have I ever been a Parrot Head. However, I do love cheeseburgers. This is the lead single from Buffett's eighth solo album. The single made it to #32 on the Hot 100. There's also a much-watered-down version of "Livingston Saturday Night", which can be heard to greater effect (https://youtu.be/5uizFyDRxso?si=ZfVrun8krTdxzagG) on the Rancho Deluxe (Perry, 1975) soundtrack, see also: Season 5, Episode 76 (https://vinylomatic.com/s05e76). Harry Nilsson [10:20] "It Is He Who Will Be King/Daybreak" Son of Dracula Rapple Records ABL1-0220 1974 The only new Nilsson song on this soundtrack. The less said about the actual film. Count Downe (Nilsson) is invited to take over Count Dracula's throne by Merlin (Ringo Starr). Lots of monsters and lots of rock stars, including Keith Moon and John Bonham, Peter Frampton, Bobby Keys, Klaus Voorman, and Leon Russell. Watch at your own peril (https://youtu.be/IIik_o16sro?si=WvmR54QPJ16Qmd6s). Great packaging for the record though, includine a die-cut gatefold and an iron on transfer for the cover image with "Bite Me" written in goth script below. Julian Bahula's Jazz Africa [16:15] "Molebatsi" Son of the Soil Tsafrika Records TSA 001 1982 A great collective outing composed by this South African by way of Britain drummer/composer/bandleader. I picked this one up at Revolution Records in Amsterdam. If Google Translate isn't lying to me, this title translates to "Smoker" from Swati. And a smoker it is. The Temptations [21:46] "Shakey Ground" A Song for You Gordy G6-969S1 1975 One of several excellent P-Funk-backed tracks on this album. There's a pretty excellent Delbert McClinton version of this song as well (https://youtu.be/w7JCWoxtGLs?si=tLtnwaOT1j24Tgvy). The Exbats [25:47] "Like It Like I Do" Song Machine Goner Records GONE 192 2023 And boy do I like it! Another excellent outing from Bisbee AZ denizens Inez and Kenny and friends (https://youtu.be/l-Onx5zVfMs?si=OSeD0DJHPaOZ4NGW). They pretty much just keep getting awesomer and awesomer. Big Black [28:17] "L Dopa" Songs About Fucking Touch and Go T&G LP #24 1987 Scorching. And sadly, fare thee well, Steve. To anyone interested in recording, Steve and Electric Audio provided (and still provide) a wealth of information, as for instance: Everything you've ever wanted to know about tape alignment but were afraid to ask (https://youtube.com/playlist?list=PLXA7imybaTsFWOFpaeP8wgXNDlZ4Xc8yq&si=ZMsU_ifbEBbmp6Kh). THE FOLLOWING TRACK IS INTENDED FOR MATURE AUDIENCES. LISTENER DISCRETION IS ADVISED

You can't argue with today's Doll's resumé. She has a Bond theme, 2 Grammys, an Olympics opening ceremony performance, and over 70 credits to her name. She co-wrote one of the Carpenters' greatest hits (and one of Eric Clapton's too…) rolled with Delaney and Bonnie and Mad Dogs and Englishmen, was muse to Leon Russell and Stephen Stills. Not to mention she was on the radio before she even had a single out! Be sure to follow @thedollspod on Instagram to see photos and clips from today's episode!https://www.instagram.com/thedollspod/

One of the greatest concerts of all time that most know very little about. This new doc, Revival 69 - the Concert That Rocked The World, brings unprecedented live footage and a story like no other to finally expose this amazing moment in rock n roll history.This episode also includes all the latest rock n roll book buzz and documentary news on projects about The Tedeschi Trucks Band, Leon Russell, Mad Dogs and Englishmen, John Lennon and Robyn Hithcock. Support the Show.email Big Rick at:info@rocktalkstudio.com

Esta semana, en Islas de Robinson, territorio clásico americano, entre 1972 y 1973. Suenan: NEIL YOUNG - "OUT ON THE WEEKEND" ("HARVEST", 1972) / BARBARA KEITH - "DETROIT OF BUFFALO" ("BARBARA KEITH", 1973) / CHRIS DARROW - "TO WHICH CROSS DO I CLING" ("CHRIS DARROW", 1973) / JERRY GARCIA - "LOSER" ("GARCIA", 1972) / J.J. CALE - "I'LL KISS THE WORLD GOODBYE" ("REALLY", 1973) / LEON RUSSELL - "MAGIC MIRROR" ("CARNEY", 1972) / WILLIS ALAN RAMSEY - "GOODBYE OLD MISSOULA" ("WILLIS ALAN RAMSEY", 1972) / STEVE YOUNG - "LONESOME ON'RY & MEAN" ("SEVEN BRIDGES ROAD", 1972) / STEVE BARON - "I'VE THOUGHT A LITTLE BIT" ("A WANDERER LIKE YOU", 1973) / ERIC ANDERSEN - "MORE OFTEN THAN NOT" ("BLUE RIVER", 1972) / DAVID WIFFEN - "SKYBOUND STATION" ("COAST TO COAST FEVER", 1973) / DANNY O'KEEFE - "THE ROAD" ("O'KEEFE", 1972) / Escuchar audio

One of the great underappreciated singer-songwriters of the rock era was Tulsa, Oklahoma native Claude Russell Bridges, better known as Leon Russell.  Russell was a musician and songwriter with records spanning rock, folk, country, gospel, bluegrass, and blues who began playing piano at the age of four.  He went to the same high school as David Gates (from Bread), and the two collaborated as a group called The Fencemen early on.  Russell went to Los Angeles and worked as a studio musician.  The list of folks he worked with is huge, including Jan and Dean, the Beach Boys, George Harrison, Eric Clapton, the Byrds, Barbara Streisand, Bob Dylan, and the Rolling Stones.  He was a big part of the group Delaney and Bonnie, and was a primary inspiration to a then-upcoming pianist who went by the name Elton John.Russell was born with cerebral palsy, which produced some paralysis on his right side.  He walked with a limp, and he was bullied as a kid over it.  He also developed a piano playing style that favored his left hand, and keyboardists will recognize that as unusual since the right hand typically plays the melody on songs.We are looking at the third solo studio album from Leon Russell called Carney.  This is Russell's most successful album in the United States, and comes when he was at his height as both a musician and a performer.  It went to number 2 on the Billboard Album chart.  Carney is organized with a first side that tends toward folk or roots rock, and a side two that is more psychedelic.  Russell was quite the start at this time, and he found that fame had some downsides.  Carney contains observations about the rock star lifestyle, and compares it two the performers at a carnival midway.  Russell's fame as a solo performer would fall off about three years after this album when he would trend in a more country direction.  He remained a force in the studio and as a songwriter throughout his life.  Leon Russell passed in his sleep in 2016 at home while recovering from heart surgery.Bruce presents this icon of the singer-songwriter era in today's podcast, as previous host Brian Dickhute sits in this week in Lynch's absence. Manhattan Island SerenadeWe're leading off with a deeper cut from the album.  It's lyrics are told from the perspective of a guy broken down on the side of the road, thinking about a long lost love as the rain falls and the cars drive by.TightropeThis is the big hit off the album.  It went to number 11 on the Billboard Hot 100.  This song encapsulates the theme of the album well, comparing the rock performer to a tightrope walker, with all the risks and the joys of performing stunts in front of the crowd.  If the Shoe FitsRussell takes on the groupies and hangers-on in this song.  It's a little like Pink Floyd's “Have a Cigar,” but instead of focusing on managers taking advantage of the band, this song looks at the parasitical elements of the press and the fans.  It maintains a light, satirical feel despite the pessimism embedded in the lyrics.This MasqueradeWhile never a hit for Russell, this song received some airplay as the B-side to “Tightrope.”  It would also be covered by a number of artists including Helen Reddy and the Carpenters, but it's most successful cover iteration would be from George Benson on this “Breezin'” album. ENTERTAINMENT TRACK:Dueling Banjos (from the motion picture Deliverance)Burt Reynolds stars in this action/horror film about a group of rafters who encounter strange back woods locals while rafting in Georgia. STAFF PICKS:I Can See Clearly Now by Johnny NashWayne gets us rolling on the staff picks with an optimistic song which went to number 1 in 1972.  The inspiration was an eye surgery that Nash had undergone which left him temporarily blind.  The song reflects the hope and joy when he was able to see again, and inspires hope during times of adversity. You Don't Mess Around with Jim by Jim CroceRob brings us one of Croce's signature lyrical stories.  Jim Walker was the baddest pool hustler around until Slim showed up at the pool hall and cut Jim to ribbons in a fight. “You don't tug on Superman's cape, you don't spit into the wind, you don't pull the mask of the old Lone Ranger, and you don't mess around with Jim.” Too Late to Turn Back Now by the Cornelius Brothers & Sister RoseBrian features  a family soul singing group out of Florida formed in the 60's as a gospel group before adding Sister Rose in 1970. Carter, Eddie and Rose Cornelius released this single as a follow-up to their hit “Treat Her Like a Lady.”  The follow-up was even more successful than the former hit, going to number 2 in the Billboard Hot 100, while the previous hit went to number 3.  I Wanna Be Where You Are by Michael JacksonBruce's staff pick is the third single off MJ's debut solo album.  It went to number 16 on the Billboard Hot 100.  Leon Ware and Arthur “T-Boy” Ross wrote this song, and Arthur Ross is the brother of Diana Ross.  Michael Jackson was producing solo work while continuing as a member of the Jackson 5, and his brothers are singing backup on this song. INSTRUMENTAL TRACK:Outta Space by Billy PrestonWe close out this week's podcast with a little sci-fi funk. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Tonight's featured LP is Cosmo's Factory by Creedence Clearwater Revival - Released in July 1970, this is the bands 5th album and spent 9 weeks at number 1 on the Billboard album chart. It also included 6 tracks released as singles and all made top 5 of the Billboard singles chart. We will also be hearing from The Doors, Leon Russell, Eric Clapton, Captain Beyond, CSNY, John Hammond, Johnny Jenkins and Delaney & Bonnie. All from the vinyl, just the way great music was meant to be heard. Broadcast on OAR 105.4FM Dunedin www.oar.org.nz

We're thrilled to be joined by the amazing Lefty Hathaway, a musical powerhouse with a rich history in blues, jazz, and rock. Alongside him, we have our wonderful co-hosts, Jordyn Taylor, Elly, and our sound maestro, Kevin McLoughlin.In tonight's episode, we dive deep into Lefty's musical journey, from his early influences like Leon Russell and Dr. John, to his experiences touring with legends and performing across the globe. We also discuss his latest single, "Monkeys on Parade," which reflects a poignant moment in his life, and he gives us a sneak peek into his upcoming projects.But it's not just about the talk – we also mix up our Cocktail of the Week, the Hawk Tuah, and share some laughs with our live audience. Stay tuned as we put Lefty in the hot seat, test his music knowledge with a round of Name That Tune, and enjoy a live performance that you won't want to miss.LinksJNC Officialhttps://www.jnclive.tvLefty Hathaway Bandhttps://www.facebook.com/LeftyHathawayBandKeg Sponsor - Mike Faurothttps://www.facebook.com/profile.php?id=100070136580191Support the Show.Thanks for listening...Watch our show on YouTube & Subscribe!https://www.youtube.com/jamsncocktailspodcast

Three-time GRAMMY winner and musical omnivore Bruce Hornsby chats about his wide-ranging career, from pop to bluegrass to jazz! PART ONE:Paul and Scott talk about their Instagram, a wild Genesis fact, and more. PART TWO:Our in-depth conversation with Bruce HornsbyABOUT BRUCE HORNSBY:Thirteen-time Grammy nominee and three-time winner Bruce Hornsby has built one of the most diverse, collaborative, and adventurous careers in contemporary music. In the early 1980s Bruce was writing songs, playing sessions as a musician, and touring as member of Ambrosia and, later, Sheena Easton's backing band. By the middle of the decade he'd formed the group Bruce Hornsby and the Range, signed a deal with RCA Records, and released his debut album, which spawned the hit singles “The Way It Is,” “Mandolin Rain,” and “Every Little Kiss.” As a result, Bruce and the band won the Grammy Award for Best New Artist in 1987. Their sophomore album, Scenes from the Southside, spawned the hit single “The Valley Road” and included Bruce's own version of “Jacob's Ladder,” a song he co-wrote that became a #1 hit for Huey Lewis. In addition to his own artist career, Bruce began collaborating extensively in that era, including producing Leon Russell, co-writing Don Henley's “The End of the Innocence,” playing piano on Bonnie Raitt's “I Can't Make You Love Me,” and appearing on albums by everyone from Bob Dylan to Stevie Nicks to Willie Nelson. In the late 1980s and early 1990s Bruce increasingly began incorporating elements of bluegrass and jazz into his music. He disbanded the Range to pursue other projects, including becoming a staple of the Grateful Dead's touring lineup. His debut solo album, Harbor Lights, was released in 1993, and he won another Grammy that year, for Best Pop Instrumental, for composing “Barcelona Mona” with Branford Marsalis for the Barcelona Olympics. He released two additional solo studio albums in the 1990s before forming a new band, The Noisemakers, which released four studio albums between 2002 and 2016. In that same period, he collaborated with bluegrass artist Ricky Skaggs to release one studio album and one live album, and with bassist Christian McBride and drummer Jack DeJohnette to release a jazz album called Camp Meeting. Bruce's 2014 album Solo Concerts showcased a sampling of his one-man performances. In 2019 Bruce returned to releasing studio albums as a solo artist with Absolute Zero, an album included collaborations with Blake Mills, Justin Vernon of Bon Iver, and others. Among Bruce's many collaborations includes a longstanding partnership scoring films for director Spike Lee. Earlier this year, Bruce released Deep Sea Vents, a water-themed collaborative album with the band yMusic that was released under the name Brhym. 

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It's not even officially Summer yet here in the deep south of the USA but open a window and you will immediately feel the hot breath of the season upon us. So, with that, the good Captain brings to you some swampy, creepy, backwater blues and southern gothic goodness that runs the gamut of rock n' punk n' metal! Go sit out on your front porch, grab your Sunday paper for fanning yourself, swat at those giant mosquitos, and turn this episode up to 11. Get your swamp on!What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This episode covers all 3 genres and all 3 categories. You could say this is a well-rounded and slimy episode. As always, we hope that we turn you on to something new.Songs this week include:Left Lane Cruiser – “Turkey Vulture” from Turkey Vulture - single (2024)The Cruel Sea – “Better Get A Lawyer” from Three Legged Dog (1995)Whiskey Meyers – “Frogman” from Mud (2016)Foghat – “Louisiana Blues” from Return Of The Boogie Men (1994)Stubb – “Green River” from Burn On The Bayou: An Heavy Underground Tribute To Creedence Clearwater Revival (2023)The Kills – “Pull A U” from Live Session EP (2009)Urban Shakedancers – “See Ya' Later” from Let ‘Er Dig (1995)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Our Spotlight Show on The Allman Brothers Band ABB)A spotlight show plays the music of the bands that influenced The ABB, the bands influenced by The ABB, those they covered, and those who covered them. With Duane's prolific studio work and jams, we look at that as well as the bands that spun of The ABB including Gov't Mule, Sea Level, Derek Trucks, Royal Southern Brotherhood, Honey Tribe, and, of course, the Tedeschi Trucks Band. We probably could have included the Marcus King Band but simply ran out of time. Good listening. If you enjoy the show, please share the link. Other Spotlight Shows include Stevie Ray Vaughan, Buddy Guy, Johnny Winter, BB King, Johnny Cash, Willie Dixon, Bob Dylan, Robert Johnson, John Hiatt, Etta James, The Everly Brothers, Muddy Waters, Ronnie Woods' Rollin' Stones, Jimi Hendrix, The RnB Roots of The Who, The Blues & Folk Roots of Led Zeppelin, Hank Williams, The 29 Club, Neil Young, The Roots of Black and White Gospel, Bob Segar...20. Jackson Browne / These Days21. John Haitt & Warren Haynes / Memphis in the Mean Time22. Jimmy Hall (Wet Willie) / Rendezvous with the Blues 23. Royal Southern Brotherhood / The Big Greasy24. Gov't Mule / Presence of the Lord (Blind Faith) 25. Tedeschi Trucks Band / Little Wing (Derek & the Dominoes)26. Alison Krause / Come and Go Blues27. Keb Mo / Just Another Rider28. The Nighthawks featuring Jimmy Thackery with Gregg Allman / You Don't Love Me 29. Larkin Poe / Ramblin' Man 30. Jeff Healey / Whipping Post 31. Little Steve & the Disciples of Soul / Not My Cross to Bear32. Ronnie Earl, Leon Russell, Reese Wynans / I'm Not AngelPodcast Only Bonus Tracks @ https://www.podomatic.com/podcasts/KWRblues33. Roy Rogers, Jim Eshelman, John Wesley / Jessica34. The Black Crowes / Dreams35. Eric Gales / In Memory of Elizabeth Reed36. Laura Nyro & Duane Allman / Beads of Sweat37. Robben Ford / One Way Out 35. The Grateful Dead (feat Duane Allman) / Sugar Magnolia38. Pat Travers / Midnight RiderContact at Pacific Street Blues & Americana Facebook page

On this week's Talkhouse Podcast we've got two incredible singer-songwriters who sprung from the same fertile late '80s/early '90s scene, and who are still doing it right all these years later: Joe Pernice and Bill Janovitz. Joe Pernice first found notice in the country-ish pop band Scud Mountain Boys, whose home-recorded songs landed them a deal with Sub Pop in the mid-1990s. The Scuds weren't around super long, but their end was the beginning of the Pernice Brothers, Joe's long-running band that continues to put out excellent, often melancholy songs. The latest Pernice Brothers album—and by the way, he's really the only constant member at this point—is called Who Will You Believe, and it stands up there with his incredibly durable catalog. In addition to writing and playing songs, Pernice wrote a great novel a while back called It Feels So Good When I Stop, and he even had a short stint writing for TV. But for now, he's concentrating on music. Check out “December in Her Eyes” from Who Will You Believe. The other half of today's conversation, Bill Janovitz, has been the singer and guitar player for the band Buffalo Tom since their inception back in 1986, and while there have been quieter periods in there, they've consistently released records, including the new Jump Rope, which comes out on May 31. Buffalo Tom came out of the same incredible Boston/Amherst music scene that birthed Pernice Brothers, Pixies, Dinosaur Jr., Sebadoh, and many more, and these guys dive right into reminiscing about those fertile days. In addition to making music, Janovitz is also something of a rock historian, having written the comprehensive Leon Russell book in recent years, as well as a volume on The Rolling Stones. His next book is about The Cars, which these guys talk about during this chat as well. Check out “Helmet” from the upcoming album Jump Rope right here. Like I said, these guys dive back into the Boston days, talking about mutual friends and collaborators like J Mascis and David Berman of Silver Jews. They also try to remember their first encounters, one of which involves Pernice being a little ornery, and they talk about selecting songs for records—and how they never know which ones people are going to react to. Enjoy. 0:00 - Intro 2:46 - Start of the chat 7:37 - Joe's legendary cousin 12:15 - Joe walks out of college and has "a mild nervous breakdown" 18:20 - "When did you meet [David] Berman?" 23:58 - "My first album was made for $60." 31:01 - Berman wants to hear Joe say the word "cocksucker." 42:12 - Craft versus hack, and writing for TV and film Thanks for listening to the Talkhouse Podcast and thanks to Joe Pernice and Bill Janovitz for chatting. If you like what you heard, please follow Talkhouse on your favorite podcasting platform, and make sure to check out all the goodness at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

Originally from Syracuse NY, Wayne's career as a recording session drummer began in the mid ‘90s in Nashville TN. Over the years his discography includes playing on Billboard #1 songs and #1 albums and recording 1000's of songs with artists such as Luke Bryan, Lady Gaga, Blake Shelton, Lady A, Chris Stapleton, Keith Urban, Steve Winwood, Toby Keith, Kenny Rogers, and Lyle Lovett, Leon Russell, and countless hit songwriters. His studio experience led him into production, along with artist development and artist promotion.   Some Things That Came Up:  -3:50 Wayne's Neil Peart Drum Solo story -8:55 Stephen King doppleganger -12:15 Graduating from Eastman School of Music  -20:20 Wayne played drums on some of Rich's songs -27:30 The rise of Jim Cooley  -30:00 Tea Towels are back  -34:00 Successful children -38:30 “4 Chords and a Loop” not “3 Chords and the Truth” -45:00 Play the take and leave it behind -49:00 Mitch Malloy/Van Halen on YouTube -61:30 CONCERT TOMS ARE BACK!  -67:00 AI and Construction Kits  -74:30 Lower you taps!    FOLLOW:  Email: drumsloud@gmail.com   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

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In addition to being one the few artists to earn an EGOT—i.e. win an Emmy, Grammy, Oscar, and Tony—Whoopi Goldberg also happens to be a big-time music nerd and monster Willie fan. On this episode she talks about his 1978 recording of “Stardust,” calling it “a love song to a love song” that, when Willie sings it, makes her feel like she's floating barefoot in the clouds with her late mom and brother. From there she'll describe growing up a musical omnivore in NYC (see Waylon and Willie...but also Anthony Newley, Glen Campbell, and the Four Tops), the origins of country music, and the night she shared a stage with Willie, Leon Russell, and Ray Charles.

Kathleen opens the show drinking a Wizard of Hops IPA from Central Standard Brewing. She reviews her weekend of shows in Wichita and Tulsa, getting drive-thru Jim Beam at Spangles and touring Leon Russell's Church Studio. COURT NEWS: Kathleen shares news that Snoop Dogg has joined the NBC team commentary for the 2024 Paris Olympics, Jelly Roll spoke in front of Congress urging them to crack down on fentanyl, and Taylor Swift attends Travis Kelce's Wild Card game at Arrowhead Stadium with Donna Kelce.“GOOD BAD FOOD”: In her quest for delicious not-so-nutritious food, Kathleen samples Casey's New Orleans Style Pretzels, and Hot Dog flavored hard candy. UPDATES: Kathleen shares that a building with a Banksy mural was accidentally demolished in Dover.“HOLY SHIT THEY FOUND IT”: Kathleen is amazed to read about the discovery of a huge ancient city in the Amazon, and a ten-foot-tall redheaded cannibals are discovered by archeologists in a Nevada cave.FRONT PAGE PUB NEWS: Kathleen shares articles on the deadly black-footed cat at a Utah zoo, a Tesla robot attacks an engineer at the Texas factory, TGI Friday's is a financial dumpster fire, Taco Bell unveils their new $3 Cravings menu, a cruise ship is struck by a rogue wave in the North Sea, Chuck E. Cheese sees a resurgence, Southwest Airlines helps a teacher turn a mock trip into reality, Warren Buffett shares 11 things that poor people will waste money on in 2024, a wild goose's mate surprises a Massachusetts vet clinic, a wild jaguar has been spotted in southern Arizona, and Miley Cyrus reconsiders a residency at The Sphere. WHAT TO WATCH THIS WEEK: Kathleen recommends watching (and rating) her new stand-up Special “Hunting Bigfoot” on Prime Video.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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 first 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 "My World Fell Down" by Sagittarius. 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 this 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, For future parts of this multi-episode story 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. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.