Podcasts about Light My Fire

Aretha Franklin got her start at an early age in Gospel music.  As the granddaughter of Gospel great Mahalia Jackson and the daughter of a prominent Baptist preacher, Franklin was heard on her father's "gospel caravan" tours at the age of twelve.  By the time she became an adult in 1960 she had decided that she wanted to go into more pop music, and moved to New York for this purpose.  She signed a deal with Columbia Records, in 1960, but her career would not really take off until moving to Atlantic Records in 1966.  By 1968 she was considered by many to be the most successful singer in the nation, and already crowned the "Queen of Soul."Franklin toured outside the US for the first time in late April 1968 through May 1968.  She performed in Paris on May 7, 1968, and this concert would be released as the live album Aretha in Paris in the fall of 1968.  It was Franklin's second live album, and the first for Atlantic Records where most of her hits were recorded.Some have criticized the backing band as not up to the task of supporting Franklin.  However, this album captures Franklin at the top of her game at a time when she was cranking out some of the biggest hits of her career.  It would be difficult for any supporting band to keep up, particularly one assembled for an overseas tour.  Regardless, this is a great album to explore as a snapshot of Aretha Franklin at the height of success.Lynch brings us a high energy live soul album from the Queen of Soul in her prime for today's podcast. (I Can't Get No) SatisfactionThis Rolling Stones cover is the lead-off track to the album and to the concert.  The Stones had released this song in 1965, and it had become their first number 1 song in the States.  Franklin takes the tempo up for this cover.(You Make Me Feel Like) A Natural WomanCarole King and Gerry Goffin wrote this song for Franklin based on an idea from producer Jerry Wexler.  It originally appeared on Franklin's album "Lady Soul", and went to number 8 on the U.S. charts.  It would make history when it hit the UK charts a week after Franklin's death in 2018, 51 years after the single was first released. (Sweet Sweet Baby) Since You've Been GoneThe original single for this live song was released on the "Lady Soul" album, and reached number 5 on the Billboard Hot 100.  This song was written by Franklin and her then-husband Teddy White. The studio version of this song utilized the talents of the Muscle Shoals Rhythm Section, who were flown in from Alabama to record in a New York City studio.Chain of FoolsSongwriter Don Covay wrote this song in his youth, and presented it to producer Jerry Wexler as a song for Otis Redding.  Wexler decided to have Franklin record it instead of Redding.  It was a big hit, taking the number 1 slot on the R&B charts for four weeks, number 2 on the Billboard Hot 100, and delivering Franklin a Grammy for Best R&B Vocal Performance. ENTERTAINMENT TRACK:Theme from the television comedy show “Laugh In”This sketch comedy show would capture a lot of American counter-culture of the time from Tiny Tim to "sock it to me!" STAFF PICKS:Ride My See Saw by the Moody BluesWayne kicks off the staff picks with a psychedelic song from the second Moody Blues album, "In Search of the Lost Chord."  The song is about leaving school and finding that the world isn't what you thought it would be.  On the album, the song is preceded by a spoken word introduction called "Departure."Harper Valley PTA by Jeannie C. RileyRob's staff pick is a storytelling song written by Tom T. Hall about a widow named Mrs. Johnson and her tangle with the PTA.  When her teenage daughter received a note from the Harper Valley PTA criticizing the way she is living, Mrs. Johnson attends the next meeting and reveals some indiscretions of the other PTA members.Light My Fire by Jose FelicianoBruce features an acoustic cover of the Doors hit single with a Latin twist.  Jose Feliciano is best known for the Christmas song "Feliz Navidad," but this Puerto Rican artist also had a hit with this cover that peaked at number 3 on in late summer 1968.  His album "Feliciano!" is a selection of acoustic cover songs, and his most successful one.  He won "Best Male Pop Vocal Performance" at the 1969 Grammy Awards for this cover.Son of a Preacher Man by Dusty SpringfieldLynch closes out the staff picks with a song that writers John Hurley and Ronnie Wilkins wrote with Aretha Franklin in mind.  When Atlantic Records producer Jerry Wexler heard it, he thought it would be a good fit for Dusty Springfield who was recording her "Dusty in Memphis" album at the time.  INSTRUMENTAL TRACK:And I Love Her by Jose FelicianoWe double up on the Latin acoustic stylings of Feliciano as this Beatles cover takes us out of this week's podcast.   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.

I will dare to dream again, Having both won and lost. Knowing now the cyclic nature of life, That there's a rise after every fall.☉

Charlamos sobre el disco 'The Doors' (1967) con Arecio Smith (teclista y organista) como invitado. En esta cuarta parte comentamos: La música, el sonido y la letra de las tres siguientes canciones del disco: «Twenty First Century Fox», «Alabama Song (Whisky Bar)» y «Light My Fire». El cruce de litigios entre exmiembros de The Doors a raíz de que Robby Krieger y Ray Manzarek formaran la banda 20th Century Doors, junto a Ian Astbury (The Cult) y Stewart Copeland (The Police). La vez que Jim Morrison desafió a la censura televisiva en el ‘show' de Ed Sullivan. Si quieres participar en la elección de los discos que tratamos en el podcast, ¡visita discoprestado.com y date de alta en mi lista de correo! La música original de 'Disco prestado' forma parte de mi EP 'The Entertainer', disponible en todas las plataformas y marcaliana.com/musica Contacto: discoprestado@proton.me ¡Salud y buena música! Marc Aliana marcaliana.com

Come on baby "Light my Fire 3"! We got a new theme show on deck all about fire for Shackjam 26 (Monday Mar 10, 2025) Its a fire show ready to light up your musical senses! Catch us later in the week for a show all about Cars as we gear up for the BIG mega party this weekend for St Patricks Day! We are going to try to break the record on the stations! Can we get more than 45K this time! Help us break 50k on KERB ZENO and MXTRFM! Find it Friday night Mar 14/ Sat morning March 15th (2am EST/ 11 pm PST) Be there! Dont miss out on the biggest party of the season! Find the playlists for all shows under Shacklists at https://halshack.comSee you Friday night! Thanks for clubbing the Halshack to the top!  

Send us a textDo you need to light a fire under your fanny? Here's a way to do it.Grasshopper Notes are the writings from America's Best Known Hypnotherapist John Morgan. His podcasts contain his most responded to essays and blog posts from the past two decades.  Find the written versions of these podcasts on John's podcasting site: https://www.buzzsprout.com/1628038"The Grasshopper" is the part of you that whispers pearls of wisdom that  seem to pop into your mind from out of the blue. John's essays and blog posts are his interpretations of these "Nips of Nectar." Others have labeled his writings as timeless wisdom.  Most of the John's writings revolve around self improvement and self help. They address topics like: • Mindfulness• Peace of mind• Creativity• How to stay in the present moment• Spirituality• Behavior improvementAnd stories that transform you to a wider sense of awareness that presents more options. And isn't that what we all want, more options?  John uploads these podcasts on a regular basis. So check back often to hear these podcasts heard around the world. Who wants to be the next person to change?  Make sure to order a copy of John's new book: WISDOM OF THE GRASSHOPPER – 21 Days to Creativity. These mini-meditations take you inside where all your creative resources live. And you'll come out not only refreshed but recommitted to creating your future.  It's only $16.95 and available at BLURB.COM at the link below. https://www.blurb.com/b/10239673-wisd...Also, download John's FREE book INTER RUPTION: The Magic Key To Lasting Change. It's available at John's website  https://GrasshopperNotes.com

App 10 Minutos com Jesus. Disponível em: App Store - https://tinyurl.com/10mcj-ios Google Play - https://tinyurl.com/10mcj-android Subscreve aqui: https://youtube.com/channel/UC9RN5vG3C0qlq4pZFx-k9-w?feature=shared ️ Segue-nos no teu serviço habitual de podcast: Spotify: https://spoti.fi/3bb5Edp Google Podcast: https://bit.ly/2Ny0S1r Apple Podcast: https://apple.co/3aqxYt6 iVoox: https://bit.ly/2ZmpA7t Recebe uma mensagem com a Meditação via: WhatsApp: http://dozz.es/10mjp Telegram: https://t.me/dezmincomjesus +Info: http://10minutoscomjesus.org

LiGHT MY FiRE hosted by Beth Norton with guest musician Cigarette Speedway Featuring: Murphy Woodhouse Anna Demetriades Ian Yearsley Produced by Jodi Eichelberger STORiES ARE STRANGE Late-Night is stranger. Plotlines turn risqué on this microphone. Wording leans wicked when you're uncensored. Black sheep, it's your season, come on down. Rated R to XXX, what happens at Late-Night, stays at Late-Night…until we put it on our podcast. You know that it will be all true. You know that there will be no liars. If you were to say your truth, these shows couldn't get much higher. With featured storytellers intermixed with an uncensored story slam, what happens at Late-Night, stays at Late-Night…until we put it on our podcast. Sponsored by Beaux Glow

S4-Ep.1 The Doors-Self-Titled Release (Elektra) Released January 4, 1967, Recorded August of 1966 Elektra Records  The Doors is a groundbreaking debut album that blends rock, blues, jazz, and psychedelia with a unique poetic sensibility, largely driven by Jim Morrison's dark, introspective lyrics. Recorded in just six days, the album features a distinctive sound, notably Ray Manzarek's Vox Continental organ, Robby Krieger's flamenco-inspired guitar work, and John Densmore's jazzy drum style. Key tracks like "Light My Fire," with its iconic organ riff and extended solos, and "Break On Through (To the Other Side)," with its rebellious energy, set the stage for the band's rise to fame. The album's fusion of musical styles, alongside Morrison's mysticism and philosophical themes, made it an instant classic, peaking at #2 on the U.S. charts. While not all tracks are equally memorable, The Doors established the band as one of rock music's most innovative and influential forces during the 1960s. Signature Tracks Discussed "Light My Fire," "Break On Through (To The Other Side)"   "The End"  Playlists: YouTube Playlist, Spotify Playlist 

NEW FOR DECEMBER 1, 2024 A pot of musical magic . . . Witchy Brew - The Best Radio You Have Never Heard Vol. 497 1. Waking The Witch - Kate Bush 2. Still - Peter Sinfield feat. Greg Lake 3. I Talk To The Wind (live) - Keith Emerson and Greg Lake 4. In The Court Of The Crimson King - Doc Severinsen & The Now Generation 5. Rhayader / Rhayader Goes To Town (2013) - Camel 6. King Of Pain (live unplugged) - Alanis Morissette 7. A Day In The Life (live) - Sting 8. Tempted (live) - Nick Lowe's Cowboy Outfit feat. Paul Carrack 9. Country Honk (early) - The Rolling Stones 10. Love In Vain - Faces 11. Street Fighting Man (live) - John Mellencamp 12. Mayor Of Simpleton (live unplugged) - XTC 13. Josh Tillman and the Accidental Dose - Father John Misty 14. Dead Girls Of London - L. Shankar 15. Call Me The Breeze - Lynyrd Skynyrd 16. Looking Glass (live) - Shimmer 17. This Is Why We Fight - The Decemberists 18. Light My Fire (live) - The Doors w/ Eddie Vedder 19. The Cry / The Electric Co (live) - U2 20. Into The Lens (live) - Yes 21. Stormy Monday (live) - Gregg Allman, Warren Haynes & Allen Woody w/ The Dreyer Brothers Band The Best Radio You Have Never Heard. Sweeping away musical doldrums. Accept No Substitute Click to leave comments on the Facebook page.

First Quarter

Happy Halloween! We have a CROWD PLEASER for you today. The Charles Dickens punch, which is set ablaze before it is served and best believe, it's good. Jules also reveals her Poison Apple-tini witch is hauntingly delicious. Uncle Brad digs into the history behind Charles Dickens' punch, and it turns out... he was kind of a dickens. You'll know what we mean when you listen.      Charles Dickens Punch  Glass: Heat resistant Punch Bowl (or heavy pot) and heat resistant glasses  Garnish: Lemon wheels and grated nutmeg  Ingredients:  Cognac 1.25 cups  Rum 2 cups  Black Tea 5 cups  4 Lemons (set 1 aside)   Demerara Sugar 0.75 cups  Directions  In your punch bowl add:  Thin peels (no pith) of 3 medium lemons (set lemons aside, you will juice these later)  ¾ cup demerara sugar  Using your fingers, press/mash the sugar together with the lemon peels (oils will start to extract form the lemon peels)  Let sit for 30 min or as long as overnight (more flavor comes through the longer it its)    In a saucepan add:  5 cups water  10 ounces of black tea (could be loose tea or 10 tea bags)  Boil the tea for 3 – 5 minutes – it's ok, black tea is more oxidized and can handle the boiling. Remove from heat and set aside.     Juice 3 lemons (from step 1) and strain into a separate vessel, you don't want pulp and seeds floating in your punch    Take a minute to warm your next two ingredients (you can combine) over low heat in a sauce pan (don't let this catch fire... yet). Or add the ingredients to a large jar (enough to hold 3.25 cups of liquid) and let rest inside your saucepan of hot tea. You can also warm your ladle in here too, you will want it warm so it doesn't cool off the spirits.     Now BACK TO YOUR PUNCH BOWL. Add:  2 cups Rum (warmed)  1 ¼ cup Cognac (warmed)  Ladel a small amount of the rum and cognac out and hold it away from the punch bowl. Light the contents of the ladle on fire. You should see a nice blue flame coming off the ladle. If it doesn't light, your ingredients are still too cold.     Turn back to your punch bowl and hold the ladle close to the top of the bowl, pour the fiery contents of the ladle into the bowl  Now that the contents of the bowl are ablaze in a beautiful blue flame.     ****Let the bowl burn for 3 – 4 minutes and stir occasionally with the ladle***      After the fire has burned for 3 – 4 minutes, add your tea and lemon juice  If the fire did not go out, go ahead and gently blow it out or cover it with a tray  Remove the lemon pips if you plan to let the punch sit for more than a few hours   Slice 1 lemon (saved for your garnish) into half wheels and add them to the punch or individual servings.   Grate a little nutmeg over the top per glass or over the entire bowl.    Poison Apple-tini  Glass: Nick and Nora glass  Garnish: Grenadine   Directions & Ingredients  First start by cooking down your grenadine to create a thick syrup style texture.  Place on a rimming dish and let cool slightly before rimming glass with the grendaine and letting it fall like blood.  In a cocktail shaker add  2 oz apple whiskey  1 oz apple pucker  1.5 oz cranberry juice  2tbsp gold edible glitter    Add ice and shake!  Strain into a nick and nora with a bloody rim    TIP: How to make your drinks black for Halloween, or whenever. Thanks for the question @winelalala      Get your Zbiotics Pre-Alcohol Probiotic here: zbiotics.com/ARTOFDRINKING  Be sure to enter the code ARTOFDRINKING for 15% off your first order    The Art of Drinking  IG: @theartofdrinkingpodcast     Jules  IG: @join_jules  TikTok: @join_jules   Website: joinjules.com    Brad   IG: @favorite_uncle_brad    This is a Redd Rock Music Podcast  IG: @reddrockmusic  www.reddrockmusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Fat Guys with Smokers, John and Mike dive into the crucial art of fire management in an offset smoker. From choosing the right wood and fuel to mastering the chimney damper and air intake vents, they share practical tips for maintaining consistent heat, clean smoke, and perfectly cooked BBQ. Whether you're a seasoned pitmaster or just starting out, this episode covers everything from building the ideal fire, managing temperature, to keeping your smoker breathing right for that signature low-and-slow flavor. Tune in for expert advice and avoid the common pitfalls of fire management! #BBQTips #OffsetSmoker #FireManagement #BBQFails #SmokingMeat #Pitmaster #LowAndSlow #FatGuysWithSmokers #BBQLife #GrillMasters

Episode 134 From Organ to Synthesizer: The Evolution of the Yamaha Electone Playlist   Time Track Time Start Introduction –Thom Holmes 06:56 00:00 Electone E-1, home style cabinet, transistorized oscillators, analog, two manuals, pedalboard, two built-in speakers.     1.Hidemi Saito, Tadashi Yoshida, “Kiriko No Tango” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. 03:32 07:14 2.Hidemi Saito, Tadashi Yoshida, “Furare Jyozu Ni Hore Jyozu” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by, Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. 02:54 10:42 Electone B-6, home style cabinet, transistorized oscillators, analog, two manuals (44 notes each), pedalboard, two built-in speakers.     3.Koichi Oki, “September In The Rain” from  Swingin' Electone! (1967 Takt). Arranged by, Electone organ, Koichi Oki; Bass, Masanaga Harada; Drums, George Otsuka, Akira Ishikawa; Guitar, Masaaki Fujita; Tenor Saxophone, Yasushi Ashida. The Electone model is not specified but it had two manuals and is likely a model A-3. 03:22 13:38 Electone EX-42, space age cabinet, like the GX-1, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, portamento strip, pedalboard.     4.Shiro Michi, “Hey Jude” from Let's Learn Electone/Shiro Michi Electone Course Vol. 5/ "All About The Rhythm" (1970 CBS/Sony). Drums, Takeshi Inomata; Electone, Yuri Tashiro; Percussion – Tokyo Cuban Boys Percussion Group. Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. 03:29 16:56 5.Shiro Michi, “Summertime” from Let's Learn Electone/Shiro Michi Electone Course Vol. 6 Jazz Standards and New Hits (1971 CBS/Sony).1970 — EX-42. Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. Famous Electone players such as Shigeo Sekito used this instrument to make the "Special Sound Series.” Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. 02:17 20:20 6.Koichi Oki, “Light My Fire” from Yamaha Superstar! (1972 Universal Summit). Oki was known as the “world's leading Yamaha Electone player” in the liner notes. Uses the Yamaha Electone EX-42. 02:59 22:32 7.Koichi Oki, “Spring” and “Summer” (side 1) from Exciting Keyboards - Four Seasons (1973 CBS/Sony). Arranged by, ARP Synthesizer, Electone [Electone  Koichi Oki;Drums, Akira Ishikawa; Guitar, Ken Yajima. Music by Vivaldi, Koichi Oki. This release was dated 1978 but the recordings were made in 1973. Oki was a musician working for Yamaha in the early seventies, providing demonstrations of their Electone organ. The model used here was an EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. 21:34 25:30 8.Yuri Tashiro, “Summertime” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. 04:00 47:16 9.Yuri Tashiro, “Jazz Samba” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. 04:35 52:28 10.   Archie Ulm, “Popcorn” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. The classic Gershon Kingsley Moog tune played on the Electone EX-42. Percussion by Paul Hergert. 03:55 55:48 11.   Archie Ulm, “Harlem Nocturne” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. Percussion by Paul Hergert. 05:20 59:42 Electone E-70, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, built-in speakers. Same circuit board as used in the Yamaha CS-80 synthesizer.     12.   Denny Hinman, “How Deep is Your Love?” from Denny Plays The Yamaha Electone E-70 (1980 Yamaha). Ued the E-70 One of the first home-based organs to feature Yamaha's PASS (Pulse Analog Synthesis System) in a console cabinet. The E-70's architecture resembled the famous CS-80 synthesizer, though it lacked analog VCOs. Its original price tag was ¥1,800,000. 02:46 01:04:58 Electone D-80, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, pedalboard, built-in speakers.     13.   Bob Hacker, “Rocky Top” "One Man Opry" Bob Hacker Plays The Yamaha Electone D-80 (1980 Yamaha). Used the three-manual Yamaha Electone D-80. 04:01 01:07:46 Electone FX-1, space age cabinet, like the GX-1, integrated circuits, program cartridges, three manuals, pedalboard.     14.   Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. An interesting rendition of a Vangelis song. 03:22 01:11:44 15.   Claude Dupras, “The Spring” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. A little bit of Vivaldi. 03:32 01:15:06 Electone 7000, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, two speakers.     16.   Jim Levesque, “Moonlight Sonata/Night and Day” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) was a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 03:49 01:18:36 17.   Tracy Hammer, “Top Banana” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). Used the Electone 7000 (aka E-75 in Europe/Japan), a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 01:43 01:22:22 18.   Debbie Culbertson, “Ice Castles” from  Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) is a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 04:09 01:23:58 Electone EL-90, home style cabinet, integrated circuits, disc recording of programming, two manuals, pedalboard, two built-in speakers. Introduced new synthesizers, filtering, and expression technologies that made instrument voices on the Electone closer to digital samples.     19.   Unknown Artist, “Prime Time,” Yamaha Electone EL-90 the Demonstrations (1991 Yamaha). A cassette demonstration tape showcasing the Electone EL-90 in various musical settings. 03:50 01:28:04   Opening background music: Hidemi Saito, Tadashi Yoshida, side 1 from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp. Electone Museum online. Electone Technology The Organ Forum  

Luis Herrero analiza con Felipe Couselo la historia de censura detrás de la canción.

Aerogels, those feather-weight materials, have a century-old history. We begin with Samuel Kistler, the inventor of the first aerogels, and move forward through time with loss of interest in them, then revival of interest in the 1970s. We learn about gradual improvements in their fabrication over time. Then we talk of their fascinating properties, and then their uses.Support the show Support my podcast at https://www.patreon.com/thehistoryofchemistry Tell me how your life relates to chemistry! E-mail me at steve@historyofchem.com Get my book, O Mg! How Chemistry Came to Be, from World Scientific Publishing, https://www.worldscientific.com/worldscibooks/10.1142/12670#t=aboutBook

Este é só um trechinho de uma aula completa, que você encontra aqui no podcast :) Quer dar aquele up no seu inglês com a Teacher Milena ?

Your leather-clad lizard kings of kinda cool stories are here to go deep on the Doors groundbreaking debut album — and, of course, the electric shaman himself: Mr. James Douglas Morrison. You'll hear all about Jim's tumultuous upbringing with a father who quite possibly started the Vietnam War and his estranged relationship with his family, as well as all of the literary (and pharmaceutical) influences that went into his lyrical poetry, and numerous run-ins with censorship and the law. You'll also learn all about the chance meeting(s)that lead to the Doors creation, the corporate training film that would yield their first recordings, their historic first use of billboards and Moog synths — and the time Jim dropped acid during a session and destroyed the recording studio. See omnystudio.com/listener for privacy information.

The 'School of Love' is still on summer break and we can't help but think of it as the Summer of Love! While we're on break we are trying to keep things light and fun before our September session begins. Join us today as we discuss all things orgasm! Hosts, Dr. Laurie Watson and George Faller invite listeners to a conversation on the art of the 'O' and strategies that will really get things going. This is a no pressure show! Just because we're talking about orgasms doesn't mean you should run from this podcast to the bedroom with these expectations in hand. Rather we encourage you to think about what sets you up for success and helps your body get to this pleasure point. You'll walk away with some tips and tricks from our experts and tools to promote a positive and confident mindset. We encourage you to keep things fun, playful and light here and keep the pressure low. Remember pressure kills pleasure! Make sure to leave us a rating a review and head over to our IG @foreplay_sextherapypodcast and tell us what you think. We love hearing from you all! Check out this episode's sponsor: ForiaWellness.com/foreplay -- Sensual oils to wake up your body to great sex! Get 20% off your first order with the link or with the code 'Foreplay' at checkout! Learn more about your ad choices. Visit megaphone.fm/adchoices

“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard's official Song of the Summer. Wait…there's an official Song of the Summer? Isn't that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard's official Song of the Summer. Wait…there's an official Song of the Summer? Isn't that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard's official Song of the Summer. Wait…there's an official Song of the Summer? Isn't that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Instant Trivia podcast episode 1257, where we ask the best trivia on the Internet. Round 1. Category: Silent Letter Words 1: If you're "in the red", you're in this, not where you want to be financially. debt. 2: It's just a pterm for a ptremendous pterosaur. pterodactyl. 3: Lambeth or Staten Island, for example. a borough. 4: Ships usually "drop" this when they want to stay in place. an anchor. 5: Beating "Shoplifters" and "Cold War", "Roma" won the 2018 award in this Oscar category. Foreign Film. Round 2. Category: Bright LightS. With Light in quotation marks 1: An Alexandrian might know the word minaret comes from an Arabic word meaning this structure. Lighthouse. 2: It burned up the Billboard charts as the Doors' first Top 40 hit. "Light My Fire". 3: The technical term for this phenomenon is the Aurora Borealis. Northern Lights. 4: It's another name for Hanukkah. Festival/Feast of Lights. 5: It's approximately 300,000 kilometers per second. Speed of light. Round 3. Category: Cosmetic Procedure 1: This euphemism for a lift inspired the name of a TV series on which plastic surgery fan Joan Rivers played herself. Nip/Tuck. 2: What, no Rogaine? Cleopatra made a concoction of honey, burnt mice and bear grease as a cure for this. baldness. 3: At Shizuka NY Day Spa, nightingdale droppings go into a trendy facial named for these lovely Japanese entertainers. geishas. 4: We don't mean to be "arch", but Damone Roberts is the king of these facial features, which he's famous for shaping. eyebrows. 5: USA Today once dubbed it the "little neurotoxin that could"; if its name makes you frown, we bet you don't use it. botox. Round 4. Category: Wil(L), Willem Or William 1: Playing Alex Trebek hosting "Celebrity Jeopardy!", he noted, "Mr. Reynolds has apparently changed his name to Turd Ferguson". Will Ferrell. 2: After landing in a cloaked Klingon ship in Golden Gate Park in "Star Trek IV", this actor says, "Everybody remember where we parked". William Shatner. 3: In 2018 Willem Dafoe was all wet as Vulko, the trident-wielding trainer of this title superhero. Aquaman. 4: In 2020 Wil Lutz scored the first points in an NFL regular season game in this city for the visiting Saints against the Raiders. Las Vegas. 5: We got a kick out of watching William Zabka return to the dojo in the role of Johnny Lawrence on this Netflix show. Cobra Kai. Round 5. Category: O And Os. With O" And "Os in quotes 1: Synonym for antonym. Opposite. 2: Dog school. obedience. 3: This Egyptian god's many burial places were considered sacred ground. Osiris. 4: In 451 these Teutonic tribesmen joined with Attila in his expedition against Gaul. Ostrogoths. 5: The two Greek letters that fit this category. Omega and Omicron. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard's official Song of the Summer. Wait…there's an official Song of the Summer? Isn't that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard's official Song of the Summer. Wait…there's an official Song of the Summer? Isn't that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard's official Song of the Summer. Wait…there's an official Song of the Summer? Isn't that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's time for me to set myself free,  In what I say and do.  Not fear my fire but express my desire,  And make my dreams come true. ☉ Are you ready for Mars to charge into Uranus? Yikes! We can call this the train wreck week, LOL! The future is not upon us, it is in us. As emissaries of the future, our mission is to envision, invent, and create the future. Having it done for us or to us is the result of entropy, fear, and unconsciousness. Well, that is what Uranus is all about, and this week, along with Mars, he'll wake us up to our unconscious needs and desires whether they are comfortable (Taurus) or not.  This week, through non-attached observation, we can learn much about ourselves. How much do I stretch the envelope? What exactly is holding me back? Why? Do I want my past to limit my future? How can I best express and create without shocking or traumatizing others? What environment and relationships best meet my needs for individuation and authentic, full self-expression? The answers to these questions can open doors of perception that lead to choices and decisions that empower us rather than diminish our power, joy, and excitement for life. The future is wide open (despite what MSM says), and we are here to make it happen starting NOW. Go forward with love, peace, and humor to throw out what is in the way of you being YOU. Blessings! This week's song is Light My Fire: https://youtu.be/edq9egDwPQI?si=0pYUTjp-nq_uPzNA  John Wolfstone's article is here: https://medium.com/@JohnWolfstone/why-loving-many-is-a-political-revolution-238210f16d4c  ❤️‍

The Richard Syrett Show, July 3rd, 2024 First came compelled speech, now there's compelled clothing https://www.rebelnews.com/ezra_levant_show_july_01_2024 School board censures non-woke trustee for talking to Rebel News, calls cops on concerned parents https://www.rebelnews.com/school_board_censures_non_woke_trustee_for_talking_to_rebel_news_calls_cops_on_concerned_parents David Menzies, Rebel News Mission Specialist Poll shows increased support for Trump among Canadians https://tnc.news/2024/07/03/poll-increased-support-trump-canadians/ Elie Cantin-Nantel True North Wire Why Hurricane Beryl's ‘Unprecedented' Timing is a Signal of Climate Change's Impact on Extreme Weather https://time.com/6994715/hurricane-beryl-extreme-weather-climate-change/   The New York Times Is Right, Finally; ‘Climate Change' Is Not Threatening Island Nations https://www.climatedepot.com/2024/07/02/the-new-york-times-is-right-finally-climate-change-is-not-threatening-island-nations/  Tony Heller, Geologist, weather historian, Founder of Real Climate Science dot com Non-citizens are Getting Voter Registration Forms Across the US https://thefederalist.com/2024/06/25/californians-with-no-drivers-license-or-ssn-can-use-a-credit-card-or-gym-membership-to-vote/  Catherine Engelbrecht, Founder of True the Vote, a Houston based nonprofit organization devoted to preventing voter fraud https://truethevote.org/ Will Kamala Harris Replace Biden on Democrat Ticket? https://www.reuters.com/world/us/vp-harris-top-choice-replace-biden-election-race-if-he-steps-aside-sources-say-2024-07-03/ Brent Hamachek, is the VP & Associate Publisher for Human Events Media Group Author of Dissidently Speaking: Change the Words. Change the War THIS DAY IN ROCK HISTORY Paint it Black, The Rolling Stones People Are Strange, The Doors Ziggy Stardust, David Bowie I Wanna Rock ‘n Roll All Night, KISS 1969 - Brian Jones Brian Jones drowned while under the influence of drugs and alcohol after taking a midnight swim in his pool, aged 27. His body was found at the bottom of the pool by his Swedish girlfriend Anna Wohlin. The coroner's report stated "Death by misadventure", and noted his liver and heart were heavily enlarged by drug and alcohol abuse. Jones was one of the founding members of The Rolling Stones and in the early 60's used the name "Elmo Lewis." 1971 - Jim Morrison American singer, songwriter and poet, Jim Morrison of The Doors was found dead in a bathtub in Paris, France, the cause of death was given as a heart attack. He co-wrote some of the group's biggest hits, including ‘Light My Fire', ‘Love Me Two Times', and ‘Love Her Madly.' On the 25th anniversary of his death an estimated 15,000 fans gathered at Pere Lachaise Cemetery in Paris, France to pay their respects. 1973 - David Bowie After 182 Ziggy Stardust concert performances, David Bowie announced he was about to retire from live performing, although it eventually transpires that the stage persona is being retired and not Bowie himself. Only his guitarist Mick Ronson knew about the announcement, which came as a complete shock not only to the audience but the rest of Bowie's band and crew. 2012 - Kiss Kiss announced that they were set to release a guitar size book containing unseen photographs from their 40-year career. The limited edition called Monster would have a $4,299 price tag and at 3 feet tall, 2.5 feet wide, was reported to be the largest music book ever published. Jeremiah Tittle, Co-Host of "The 500 with Josh Adam Myers" podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Singles Going Around- Beastie Boys Mix Volume One"She's On It" (12" Version)"Slow and Low" (12" Version)"Hold It Now" (12" Version)"Shadrach""What You Give Is What You Get""Jimmy James""Live At P.J's""Son Of Neckbone""Sure Shot""Alright Hear This""Get It Together (A.B.A. Remix)"Light My Fire""Rhymin And Stealin""The Biz Vs The Nuge""Time For Living""Drinkin' Wine""Groove Holmes"*All selections dynagroove

On this week's episode Joshua is joined by his first Gen Z guests, the comedy duo behind Content.Channel, Cam George and Peter Ditzler. Not only have these two been helping with the podcast, they've also been kindred readers with Joshua sharing similar tastes in books since they met. They get into their shared love of Mike Davis, particularly his book about the geology of Los Angeles and modern day conflicts with it in "Ecology of Fear". Eve Babitz is discussed as are some of the pivotal figures in the modern day city like Mulholland, D.W. Griffith, and Aimee Semple McPherson. But first Cam and Pete pitch Joshua hard on their love of e-readers and how to mimic the scrolling on their phones helps trick their brains into doing something productive on their Kindles. We also get into book recommendations from listeners! Hosted on Acast. See acast.com/privacy for more information.

Light My Fire is a funky disco house music podcast by Ken Steele. Please check out these classic disco sounds with a fresh beat. Great for your upcoming summertime parties. Artist names and song titles are in order of play...TRAMMPS-DISCO INFERNO, ROUGH TRADES-GET DOWN TONIGHT, CHERYL LYNN-GOT TO BE REAL, PONTCHARTRAIN-BURNIN', EVELYN CHAMPAGNE KING-I'M IN LOVE, MARK KNIGHT-GET THIS FEELING, BROTHERS JOHNSON-STOMP, YUNG BAE-MUST BE LOVE, DONNA SUMMERS-BAD GIRLS, SEBASTIEN TELLIER-KILOMETER, DISCO INCORPORATED-FREEDOM, NEVER DULL-TURNING YOU ON, DISCO INCORPORATED-LOVELY, DISCLOSURE-FUNKY SENSATION, JUNGLE-BEAT 54, DISCO INCORPORATED-FIRE GROOVE, SISTER SLEDGE-WE ARE FAMILY, MARC PALACIOS-I WILL SURVIVE, BBO BAND-ON THE BEAT, HP VINCE-FREAK IN MY PANTS, GEORGE BENSON-GIVE ME THE NIGHT. End. Thanks for listening from Ken Steele. 

Carrie chats with Kate Landau! The 5x NCAA All-American and current masters runner joins the show to talk about running as we get older, her current training and racing, her health, injuries, finding happiness, and so much more!

Welcome to the Instant Trivia podcast episode 1186, where we ask the best trivia on the Internet. Round 1. Category: Fete Offensive 1: 1953 and 2009 were years of riots in France on this festive day that was violent back in 1789, too. Bastille Day. 2: After this war hero's 1829 inauguration, crowds nearly crushed him and the White House was trashed. Andrew Jackson. 3: Beijing feted 70 years of Communist rule on "National Day" in 2019, but protests in this administrative region turned ugly. Hong Kong. 4: 30 years after the original concert, this reboot featured overpriced water and arson. Woodstock. 5: Netflix' documentary about this ill-conceived Bahamian romp is subtitled "The Greatest Party that Never Happened". the Fyre Festival. Round 2. Category: Polyhymnia 1: "Glory! Glory! Hallelujah!" Joan Baez sang this national hymn on a 1963 concert album. "Battle Hymn Of The Republic". 2: "In the snow of far off northern lands and in sunny tropic scenes" is in the second part of their hymn. the Marine Corps. 3: Also meaning a commonly repeated word or phrase, this term originally referred to a Hindu vedic hymn. mantra. 4: A processional is sung as clergy and laity enter a church; this type of hymn, as they leave. recessional. 5: Bede recorded this earliest-known Anglo-Saxon Christian poet's "Hymn" in prose. Cædmon. Round 3. Category: 4 Top Men 1: You know it would be true, you know I wouldn't be a liar, to say this band turned down $50K from Buick to use "Light My Fire". The Doors. 2: This foursome was "Runnin' With The Devil" but runnin' without brown MandMs, excluded in their concert contracts. Van Halen. 3: For a track on "Quadrophenia", this band had to bribe a train driver to blow his whistle departing Waterloo station. The Who. 4: Bob Geldof on the show-stopping performance by this band at Live Aid: "It was the perfect stage for Freddie". Queen. 5: At the 2017 Grammys, this hard rocking quartet of dudes went (Lady) Gaga to play "Moth Into Flame". Metallica. Round 4. Category: Working With A Beatle 1: In a 1995 Pizza Hut ad, Micky Dolenz, Peter Tork and Davy Jones welcomed Ringo as this band's new drummer. the Monkees. 2: "Uncle Albert/Admiral Halsey", a 1971 No. 1, is credited to Paul and this woman. Linda Eastman (McCartney). 3: In 1997 Ringo said, "Baby, I Love Your Way" and had this ex-Humble Pie guy in the All-Starr Band. Peter Frampton. 4: "Handle with Care"! Along with George, this '80s group featured Jeff Lynne, Roy Orbison, Tom Petty and Bob Dylan. the Traveling Wilburys. 5: On Thanksgiving 1974, John joined this man at Madison Square Garden to perform "Lucy In The Sky With Diamonds". Elton John. Round 5. Category: From Movie To Musical 1: This musical based on a 1933 film is currently tapping away on the NYC thoroughfare of the same name. 42nd Street. 2: Tony Curtis took the Joe E. Brown role, not the Tony Curtis part, in a new musical based on this Billy Wilder film. Some Like It Hot. 3: You could say John C. Reilly butchered the role in the 2002 musical based on this Ernest Borgnine film. Marty. 4: It had to happen: this 1962 classic in which Bette Davis tormented Joan Crawford became a musical in 2002. Whatever Happened to Baby Jane?. 5: "Illya Darling" was based on this foreign film about a woman who worked only Monday through Saturday. Never On Sunday. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspo

IGNITE5周年パーティーを終え、ハワイに半移住です。皆様に感謝の気持ちを込めて。 Once we believe in ourselves, we can risk curiosity, wonder, spontaneous delight, or any experience that reveals the human spirit." --E.E. Cummings

Hour 2 of the Tuesday Bob Rose Show for 4-30-24

Bruce Botnick engineered the first five Doors studio albums and produced the last one that featured Jim Morrison, L.A. Woman. He also co-produced Forever Changes, the brilliant 1967 album from Doors' L.A. contemporaries Love, and engineered some of the Beach Boys' Pet Sounds. Botnick continues working on Doors releases, including Rhino's new Record Store Day entry Live at Konserthuset, Stockholm, September 20, 1968. He tells of how these performances, which feature the Doors at peak power, were recorded and recently discovered. He also reflects on the band's dynamic, the reason the album version of "Light My Fire" is slow and flat, what prompted producer Paul Rothchild to leave the L.A. Woman sessions and the contrasting approach that Botnick took on the project. What was it like working with such unpredictable geniuses as Morrison, Arthur Lee (Love) and Brian Wilson?

This week Jonathan sits down with Robby Krieger of The Doors. They talk about the origins of the band, writing classic songs like "Light My Fire," and Robby's prolific post-Doors career. Please subscribe and give us a review wherever you get your podcasts.  The Jam is hosted and produced by Jonathan Shank. Produced by Matt Dwyer and RJ Bee of Osiris Media. Audio Production by Matt Dwyer. Recorded at Sony in Los Angeles. Music by Amar Sastry. Thanks for listening, and see you next time.

"Fire," - Ohio Players"Fire," - Jimi Hendrix"September," - Earth, Wind, Fire"Light My Fire," - The Doors"Fire on the Mountain," - Grateful Dead"Fire and Rain," - James Taylor"I'm on Fire," - Bruce Springsteen"Here Comes The Sun," - The Beatles"We Didn't Start the Fire," - Billy Joel"Fire," - KIDS SEE GHOSTS"Fire," - Two Feet"Fire," - Ren"I See Fire," - Ed Sheeran"Fire," - Beartooth"Through the Fire and Flames," - DragonForce"Keep Me Warm," - lumen

In this exclusive episode of LEGENDS: Podcast by All Day Vinyl, host Scott Dudelson speaks to one of the greatest guitarists in Rock and Roll History - Robby Krieger of The Doors. As founding member and guitarist of The Doors, Krieger wrote some of the bands most iconic songs including "Light My Fire," "Love Her Madly" and "Touch Me." Over the last forty years Krieger has carved out a career as a jazz/instrumental musician releasing nearly a dozen albums over that time (not including his collaboration with former Doors members in The Butts Band which we discuss in this episode) More recently Krieger has been performing with his jazz-funk instrumental group, The Soul Savages, which recently released their debut album (and its a super great album!).   In this episode Dudelson and Robby dive deep into the new Soul Savages album as well as Robby's new autobiography "Set the Night On Fire" which details his life in The Doors and beyond. Providing a rare glimpse into Krieger's creative process, we discuss the making of The Soul Savages album and lay out the case why its Robby's best solo work to date. We also discuss a wide range of topics including The Butts Band, how Robby got the nickname The Worm,' the human side of Jim Morrison, the making of "American Prayer," who Robby thinks does a great job covering Jim Morrison singing, as well as Kriegers personal battles with substance abuse, the mythos of The Doors, Robby's favorite Doors album/song and much more. This episode is a great listen for any fan of The Doors, Robby Krieger and Rock and Roll History.

In Ep.36 we rub some sticks together, light a campfire, and roast some heretical marshmallows Part 1 [07:07] - In which we learn why Ed Sullivan didn't want Jim Morrison singing his full-throat version of Light my Fire on live TV Part 2 [26:44] - In which Rudolph the Red-Nosed reindeer shows up on New Year's Eve and separates the party goers from the party poopers Part 3 [37:35] - In which we stumble upon a campfire of biblical proportion. Believe me, we're talking BIG here. This thing is huge.*transcripts and links for each episode are available at: betweenthelines.xyz*Chapter Titles read by Anna Jacobsen**Original German Fairytale text read by Jürgen Lexow **Librivox recording of Hänsel and Gretel (auf Deutsch) read by Stephan Gambke**Librivox recording of Hansel and Gretel (in English) read by Deborah Knight**Music and Sound credits for this episode (36) are — as usual — SUPER-extensive and can be found on the website @ betweenthelines.xyz*special thanks to freesound.org for nearly all of kristo's awesome peanut gallery voices...*got a question… or just wanna say hi…? Talk to me… If you'd like to support the show, support your own Intuition, and eventually help speed up the production process you can buy me a coffee or a beer @ ko-fi.com Thanks!

"Join us on this episode as we explore the timeless journey of passing down legacies to the next generation. Through captivating interviews and insightful discussions, we delve into the importance of preserving family traditions, values, and wisdom. From ancestral stories to practical tips on wealth management and entrepreneurship, each episode offers valuable insights to empower listeners in their own legacy-building endeavors. Whether you're a parent, grandparent, or simply curious about how legacies shape our lives, our podcast provides a platform to celebrate, learn, and inspire the art of passing the torch to future generations." --- Send in a voice message: https://podcasters.spotify.com/pod/show/anthony-mitchell-jr/message Support this podcast: https://podcasters.spotify.com/pod/show/anthony-mitchell-jr/support

Hoy en el programa:02 DE MARZO DEL 2024La parodia de Gastón “Light My Fire” del grupo The Doors.Las ocurrencias de Katrina La diva de MexicoAndy Valdez 

Ella Fitzgerald “Every Time We Say Goodbye”Julie London “Fly Me To The Moon”Dinah Washington “Call Me Irresponsible”Lena Horne & Ray Ellis And His Orchestra “In Love In Vain”Tina Turner “Night Time Is The Right Time”Bonnie Raitt “I Can't Make You Love Me”Erma Franklin “Light My Fire”Aretha Franklin “Today I Sing The Blues”Nina Simone ”Wild Is The Wind”Kay Starr “Baby Won't You Please Come Home”Peggy Lee “The Man I Love”Sarah Vaughan & Jimmy Jones & His Orchestra “Stormy Weather”Betty Lavette “Let Me Down Easy”Irma Thomas “Wish Someone Would Care”Bettye Swann “Tell It Like It Is”Billie Holiday With Paul Whiteman And His Orchestra “Trav'Lin Light”Cassandra Wilson “Time After Time”Escuchar audio

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Robby Krieger On Live At The Matrix 1967: The Original MastersThe Doors were a few months away from stardom in March 1967 when they played five sparsely attended shows at a small club in San Francisco called The Matrix. These uninhibited performances would have been fleeting if not for Peter Abram, who co-owned  the pizza parlor-turned-nightclub with Jefferson Airplane founder Marty Balin. An avid recordist, Abram taped concerts at The Matrix regularly and his recordings of The Doors, made between March 7-11, 1967, spawned one of the band's most storied bootlegs.  At long last, all known Matrix recordings, sourced entirely from Abram's original master recordings, will be released on September 8.Bootlegs of The Matrix shows have circulated among fans for years and were popular despite the poor audio quality of most copies. The sound began improving in 1997 when the first two songs from The Matrix shows were officially released on The Doors: Box Set. Even more performances followed in 2008 on Live at the Matrix 1967; regrettably, it was discovered soon after that all the recordings were sourced from third-generation tapes, not the originals. Today, Abram's original recordings have been remastered by Bruce Botnick, The Doors' longtime engineer/mixer, for official release. The vinyl version of LIVE AT THE MATRIX 1967: THE ORIGINAL MASTERS includes all 37 songs from the shows sourced from the master tapes. Except for 15 songs released in 2017 and 2018 as Record Store Day exclusives, most of the newly upgraded live recordings are making their debut in the collection, including eight that have never been featured on any of the previous Matrix releases.It's easy to understand the enduring appeal of these vintage performances by Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore. Recorded only a few months before “Light My Fire” propelled the band to worldwide success, the tapes capture The Doors playing a wide range of songs, including several from their self-titled debut, like “Break On Through,” “Soul Kitchen,” and “The End.” They also performed half the songs destined for the group's soon-to-be-recorded second album, Strange Days, including early performances of “Moonlight Drive” and “People Are Strange.” 15 Sets of music over five nights at The Matrix gave the band time to indulge its love of the blues with extended covers of “I'm A King Bee” and “Crawling King Snake.” The Doors even delivered an instrumental version of “Summertime.” These special moments all contribute to making Live at The Matrix, 1967all the more fascinating and important, as it showcases The Doors as the nascent struggling young band they were. Let's get deeper inside this box set's music, shall we?Source: https://store.rhino.com/en/rhino-store/artiHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

The L.A. band the Doors continue to inspire strong opinions, even in 2023, and Beave and Len talk through the band's music in detail. Will their popularity come roaring back yet again, or has their time passed at last? Was Jim Morrison the first art rock poet, or was he a drunken fraud? Does the music hold up 50 years later? What was the secret of the band's appeal (make no mistake, at their zenith they were as big as anyone)? Tune in for some strange days.

Episode 415: Hey all here is another radio hour for you while the three of us recover from our shenanigans and cutting out the 2nd part of our 1st Impressions in lieu of doing the normal two parter. Again please support the artists in the appropriate places like Spotify or youtube if you can if you like any of the songs! Playlist with timestamps below! 0:00 - Som Intro 6:55 - "Light My Fire" by KOTOKO  - Shakugan No Shana III (Final) OP1 10:39 - "Kaen (火炎)" by Ziyoou-vachi - Dororo OP1 14:39 - "GATE: Sore wa Akatsuki no you ni (GATE～それは暁のように～)" by Kishida Kyoudan & The Akeboshi Rockets - GATE OP1 17:58 - Som Interlude 1 23:39 - "Present Moment" by Miyu Tomita - After School Dice Club 27:29 - "My Dearest" by supercell; performed by Koeda - Guilty Crown OP1 33:02 - "lull ~Soshite Bokura wa~ (lull ～そして僕らは～)" by Ray - Nagi No Asu Kara 37:53 - Som Interlude 2 47:33 - "KING & ASHLEY" by MY FIRST STORY - Kengan Ashura 50:54 - “Catch You Catch Me!” by Hinata Megumi - Cardcaptor Sakura OP1 54:37 - "Cinderella (シンデレラ)" by Cider Girl - Komi Cant Communicate OP1 58:06 - "Hajimari no Boukensha-tachi: Kou no Chizu (はじまりの冒険者たち~光の地図~)" by Hitomi Mieno - Legend of Crystania OP 59:37 - Som Interlude 3 1:09:43 - “Satsugai” by Detroit Metal City - Detroit Metal City 1:11:10 - "Change the World" by V6 - Inu-Yasha OP1 1:15:59 - "Tomorrow" by Mikuni Shimokawa - Full Metal Panic  1:19:29 - “Crossing field” by LiSA - Sword Art Online OP1 --- Send in a voice message: https://podcasters.spotify.com/pod/show/anime-summit/message

This week, the boys get into a heated debate and also listen to some acapellas from The Doors. For extended Poundcast episodes (Unzipped), subscribe on Patreon: https://www.patreon.com/poundcast Follow The Poundcast on Instagram and Twitter @thepoundcast For video, check out: www.youtube.com/thepoundcast Join the Poundcast Discord here: discord.gg/GnqUMmX New Pound House "Dope Beats" Pins right here: https://www.rockinpins.com/product/pound-house-dope-beats-enamel-pin Thank you to our #sponsor Better Help, easy and affordable online therapy. Get 10% off your first month at https://www.betterhelp.com/poundcast And use the code word "POUNDCAST" at www.louisvilleveganfoods.com for, that's right, 20% off!

This week, the Good Girls are joined by Sade Kelly, CEO and Founder of The Fire Inside, a time management coaching and consulting company. We chat about Sade's journey of becoming self-employed and building her own company, being way too competitive in summer internship programs, the Cheetah Girls book series, and our favorite rom coms. She also gives us some super helpful tips for managing time when you want to do everything, dealing with stress and overwhelm, and productively working from home! Good Girls, listen up!! Then we play "Light My Fire!" Leave us a review on Apple Podcasts and we will mail you a GGGS sticker! Just screenshot the review, send us a DM and an address where you would like the sticker sent! BUY SOME MERCH (shipping is always free!)⁠ Follow the Good Girls on Instagram @⁠goodgirlsgonesad⁠ And TikTok @⁠goodgirlsgonesad⁠ And Twitter @⁠goodgrlsgonesad⁠ Follow Sade @sadekelly_ Follow Becca @⁠thebeccastephenson⁠ Follow Syd @⁠syd.the.king --- Send in a voice message: https://podcasters.spotify.com/pod/show/good-girls-gone-sad/message Support this podcast: https://podcasters.spotify.com/pod/show/good-girls-gone-sad/support

Episode 162 of A History of Rock Music in Five Hundred Songs looks at "Daydream Believer", and the later career of the Monkees, and how four Pinocchios became real boys. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Born to be Wild" by Steppenwolf. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as even after splitting it into multiple files, there are simply too many Monkees tracks excerpted. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, none of those are in print. However, at the time of writing there is a new four-CD super-deluxe box set of Headquarters (with a remixed version of the album rather than the original mixes I've excerpted here) available from that site, and I used the liner notes for that here. Monkees.com also currently has the intermittently-available BluRay box set of the entire Monkees TV series, which also has Head and 33 1/3 Revolutions Per Monkee. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book in 2021, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters — Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Monkees, they were in a state of flux. To recap what we covered in that episode, the Monkees were originally cast as actors in a TV show, and consisted of two actors with some singing ability -- the former child stars Davy Jones and Micky Dolenz -- and two musicians who were also competent comic actors, Michael Nesmith and Peter Tork.  The show was about a fictional band whose characters shared names with their actors, and there had quickly been two big hit singles, and two hit albums, taken from the music recorded for the TV show's soundtrack. But this had caused problems for the actors. The records were being promoted as being by the fictional group in the TV series, blurring the line between the TV show and reality, though in fact for the most part they were being made by session musicians with only Dolenz or Jones adding lead vocals to pre-recorded backing tracks. Dolenz and Jones were fine with this, but Nesmith, who had been allowed to write and produce a few album tracks himself, wanted more creative input, and more importantly felt that he was being asked to be complicit in fraud because the records credited the four Monkees as the musicians when (other than a tiny bit of inaudible rhythm guitar by Tork on a couple of Nesmith's tracks) none of them played on them. Tork, meanwhile, believed he had been promised that the group would be an actual group -- that they would all be playing on the records together -- and felt hurt and annoyed that this wasn't the case. They were by now playing live together to promote the series and the records, with Dolenz turning out to be a perfectly competent drummer, so surely they could do the same in the studio? So in January 1967, things came to a head. It's actually quite difficult to sort out exactly what happened, because of conflicting recollections and opinions. What follows is my best attempt to harmonise the different versions of the story into one coherent narrative, but be aware that I could be wrong in some of the details. Nesmith and Tork, who disliked each other in most respects, were both agreed that this couldn't continue and that if there were going to be Monkees records released at all, they were going to have the Monkees playing on them. Dolenz, who seems to have been the one member of the group that everyone could get along with, didn't really care but went along with them for the sake of group harmony. And Bob Rafelson and Bert Schneider, the production team behind the series, also took Nesmith and Tork's side, through a general love of mischief. But on the other side was Don Kirshner, the music publisher who was in charge of supervising the music for the TV show. Kirshner was adamantly, angrily, opposed to the very idea of the group members having any input at all into how the records were made. He considered that they should be grateful for the huge pay cheques they were getting from records his staff writers and producers were making for them, and stop whinging. And Davy Jones was somewhere in the middle. He wanted to support his co-stars, who he genuinely liked, but also, he was a working actor, he'd had other roles before, he'd have other roles afterwards, and as a working actor you do what you're told if you don't want to lose the job you've got. Jones had grown up in very severe poverty, and had been his family's breadwinner from his early teens, and artistic integrity is all very nice, but not as nice as a cheque for a quarter of a million dollars. Although that might be slightly unfair -- it might be fairer to say that artistic integrity has a different meaning to someone like Jones, coming from musical theatre and a tradition of "the show must go on", than it does to people like Nesmith and Tork who had come up through the folk clubs. Jones' attitude may also have been affected by the fact that his character in the TV show didn't play an instrument other than the occasional tambourine or maracas. The other three were having to mime instrumental parts they hadn't played, and to reproduce them on stage, but Jones didn't have that particular disadvantage. Bert Schneider, one of the TV show's producers, encouraged the group to go into the recording studio themselves, with a producer of their choice, and cut a couple of tracks to prove what they could do. Michael Nesmith, who at this point was the one who was most adamant about taking control of the music, chose Chip Douglas to produce. Douglas was someone that Nesmith had known a little while, as they'd both played the folk circuit -- in Douglas' case as a member of the Modern Folk Quartet -- but Douglas had recently joined the Turtles as their new bass player. At this point, Douglas had never officially produced a record, but he was a gifted arranger, and had just arranged the Turtles' latest single, which had just been released and was starting to climb the charts: [Excerpt: The Turtles, "Happy Together"] Douglas quit the Turtles to work with the Monkees, and took the group into the studio to cut two demo backing tracks for a potential single as a proof of concept. These initial sessions didn't have any vocals, but featured Nesmith on guitar, Tork on piano, Dolenz on drums, Jones on tambourine, and an unknown bass player -- possibly Douglas himself, possibly Nesmith's friend John London, who he'd played with in Mike and John and Bill. They cut rough tracks of two songs, "All of Your Toys", by another friend of Nesmith's, Bill Martin, and Nesmith's "The Girl I Knew Somewhere": [Excerpt: The Monkees, "The Girl I Knew Somewhere (Gold Star Demo)"] Those tracks were very rough and ready -- they were garage-band tracks rather than the professional studio recordings that the Candy Store Prophets or Jeff Barry's New York session players had provided for the previous singles -- but they were competent in the studio, thanks largely to Chip Douglas' steadying influence. As Douglas later said "They could hardly play. Mike could play adequate rhythm guitar. Pete could play piano but he'd make mistakes, and Micky's time on drums was erratic. He'd speed up or slow down." But the takes they managed to get down showed that they *could* do it. Rafelson and Schneider agreed with them that the Monkees could make a single together, and start recording at least some of their own tracks. So the group went back into the studio, with Douglas producing -- and with Lester Sill from the music publishers there to supervise -- and cut finished versions of the two songs. This time the lineup was Nesmith on guitar, Tork on electric harpsichord -- Tork had always been a fan of Bach, and would in later years perform Bach pieces as his solo spot in Monkees shows -- Dolenz on drums, London on bass, and Jones on tambourine: [Excerpt: The Monkees, "The Girl I Knew Somewhere (first recorded version)"] But while this was happening, Kirshner had been trying to get new Monkees material recorded without them -- he'd not yet agreed to having the group play on their own records. Three days after the sessions for "All of Your Toys" and "The Girl I Knew Somewhere", sessions started in New York for an entire album's worth of new material, produced by Jeff Barry and Denny Randell, and largely made by the same Red Bird Records team who had made "I'm a Believer" -- the same musicians who in various combinations had played on everything from "Sherry" by the Four Seasons to "Like a Rolling Stone" by Dylan to "Leader of the Pack", and with songs by Neil Diamond, Jeff Barry and Ellie Greenwich, Leiber and Stoller, and the rest of the team of songwriters around Red Bird. But at this point came the meeting we talked about towards the end of the "Last Train to Clarksville" episode, in which Nesmith punched a hole in a hotel wall in frustration at what he saw as Kirshner's obstinacy. Kirshner didn't want to listen to the recordings the group had made. He'd promised Jeff Barry and Neil Diamond that if "I'm a Believer" went to number one, Barry would get to produce, and Diamond write, the group's next single. Chip Douglas wasn't a recognised producer, and he'd made this commitment. But the group needed a new single out. A compromise was offered, of sorts, by Kirshner -- how about if Barry flew over from New York to LA to produce the group, they'd scrap the tracks both the group and Barry had recorded, and Barry would produce new tracks for the songs he'd recorded, with the group playing on them? But that wouldn't work either. The group members were all due to go on holiday -- three of them were going to make staggered trips to the UK, partly to promote the TV series, which was just starting over here, and partly just to have a break. They'd been working sixty-plus hour weeks for months between the TV series, live performances, and the recording studio, and they were basically falling-down tired, which was one of the reasons for Nesmith's outburst in the meeting. They weren't accomplished enough musicians to cut tracks quickly, and they *needed* the break. On top of that, Nesmith and Barry had had a major falling-out at the "I'm a Believer" session, and Nesmith considered it a matter of personal integrity that he couldn't work with a man who in his eyes had insulted his professionalism. So that was out, but there was also no way Kirshner was going to let the group release a single consisting of two songs he hadn't heard, produced by a producer with no track record. At first, the group were insistent that "All of Your Toys" should be the A-side for their next single: [Excerpt: The Monkees, "All Of Your Toys"] But there was an actual problem with that which they hadn't foreseen. Bill Martin, who wrote the song, was under contract to another music publisher, and the Monkees' contracts said they needed to only record songs published by Screen Gems. Eventually, it was Micky Dolenz who managed to cut the Gordian knot -- or so everyone thought. Dolenz was the one who had the least at stake of any of them -- he was already secure as the voice of the hits, he had no particular desire to be an instrumentalist, but he wanted to support his colleagues. Dolenz suggested that it would be a reasonable compromise to put out a single with one of the pre-recorded backing tracks on one side, with him or Jones singing, and with the version of "The Girl I Knew Somewhere" that the band had recorded together on the other. That way, Kirshner and the record label would get their new single without too much delay, the group would still be able to say they'd started recording their own tracks, everyone would get some of what they wanted. So it was agreed -- though there was a further stipulation. "The Girl I Knew Somewhere" had Nesmith singing lead vocals, and up to that point every Monkees single had featured Dolenz on lead on both sides. As far as Kirshner and the other people involved in making the release decisions were concerned, that was the way things were going to continue. Everyone was fine with this -- Nesmith, the one who was most likely to object in principle, in practice realised that having Dolenz sing his song would make it more likely to be played on the radio and used in the TV show, and so increase his royalties. A vocal session was arranged in New York for Dolenz and Jones to come and cut some vocal tracks right before Dolenz and Nesmith flew over to the UK. But in the meantime, it had become even more urgent for the group to be seen to be doing their own recording. An in-depth article on the group in the Saturday Evening Post had come out, quoting Nesmith as saying "It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured and put on the air strictly with a lot of hoopla. Tell the world we're synthetic because, damn it, we are. Tell them the Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. The show is really a part of us. They're not seeing something invalid." The press immediately jumped on the band, and started trying to portray them as con artists exploiting their teenage fans, though as Nesmith later said "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact it was me that was making the attempt to maintain the integrity. So the press went into a full-scale war against us." Tork, on the other hand, while he and Nesmith were on the same side about the band making their own records, blamed Nesmith for much of the press reaction, later saying "Michael blew the whistle on us. If he had gone in there with pride and said 'We are what we are and we have no reason to hang our heads in shame' it never would have happened." So as far as the group were concerned, they *needed* to at least go with Dolenz's suggested compromise. Their personal reputations were on the line. When Dolenz arrived at the session in New York, he was expecting to be asked to cut one vocal track, for the A-side of the next single (and presumably a new lead vocal for "The Girl I Knew Somewhere"). When he got there, though, he found that Kirshner expected him to record several vocals so that Kirshner could choose the best. That wasn't what had been agreed, and so Dolenz flat-out refused to record anything at all. Luckily for Kirshner, Jones -- who was the most co-operative member of the band -- was willing to sing a handful of songs intended for Dolenz as well as the ones he was meant to sing. So the tape of "A Little Bit Me, A Little Bit You", the song intended for the next single, was slowed down so it would be in a suitable key for Jones instead, and he recorded the vocal for that: [Excerpt: The Monkees, "A Little Bit Me, A Little Bit You"] Incidentally, while Jones recorded vocals for several more tracks at the session -- and some would later be reused as album tracks a few years down the line -- not all of the recorded tracks were used for vocals, and this later gave rise to a rumour that has been repeated as fact by almost everyone involved, though it was a misunderstanding. Kirshner's next major success after the Monkees was another made-for-TV fictional band, the Archies, and their biggest hit was "Sugar Sugar", co-written and produced by Jeff Barry: [Excerpt: The Archies, "Sugar Sugar"] Both Kirshner and the Monkees have always claimed that the Monkees were offered "Sugar, Sugar" and turned it down. To Kirshner the moral of the story was that since "Sugar, Sugar" was a massive hit, it proved his instincts right and proved that the Monkees didn't know what would make a hit. To the Monkees, on the other hand, it showed that Kirshner wanted them to do bubblegum music that they considered ridiculous. This became such an established factoid that Dolenz regularly tells the story in his live performances, and includes a version of "Sugar, Sugar" in them, rearranged as almost a torch song: [Excerpt: Micky Dolenz, "Sugar, Sugar (live)"] But in fact, "Sugar, Sugar" wasn't written until long after Kirshner and the Monkees had parted ways. But one of the songs for which a backing track was recorded but no vocals were ever completed was "Sugar Man", a song by Denny Randell and Sandy Linzer, which they would later release themselves as an unsuccessful single: [Excerpt: Linzer and Randell, "Sugar Man"] Over the years, the Monkees not recording "Sugar Man" became the Monkees not recording "Sugar, Sugar". Meanwhile, Dolenz and Nesmith had flown over to the UK to do some promotional work and relax, and Jones soon also flew over, though didn't hang out with his bandmates, preferring to spend more time with his family. Both Dolenz and Nesmith spent a lot of time hanging out with British pop stars, and were pleased to find that despite the manufactured controversy about them being a manufactured group, none of the British musicians they admired seemed to care. Eric Burdon, for example, was quoted in the Melody Maker as saying "They make very good records, I can't understand how people get upset about them. You've got to make up your minds whether a group is a record production group or one that makes live appearances. For example, I like to hear a Phil Spector record and I don't worry if it's the Ronettes or Ike and Tina Turner... I like the Monkees record as a grand record, no matter how people scream. So somebody made a record and they don't play, so what? Just enjoy the record." Similarly, the Beatles were admirers of the Monkees, especially the TV show, despite being expected to have a negative opinion of them, as you can hear in this contemporary recording of Paul McCartney answering a fan's questions: Excerpt: Paul McCartney talks about the Monkees] Both Dolenz and Nesmith hung out with the Beatles quite a bit -- they both visited Sgt. Pepper recording sessions, and if you watch the film footage of the orchestral overdubs for "A Day in the Life", Nesmith is there with all the other stars of the period. Nesmith and his wife Phyllis even stayed with the Lennons for a couple of days, though Cynthia Lennon seems to have thought of the Nesmiths as annoying intruders who had been invited out of politeness and not realised they weren't wanted. That seems plausible, but at the same time, John Lennon doesn't seem the kind of person to not make his feelings known, and Michael Nesmith's reports of the few days they stayed there seem to describe a very memorable experience, where after some initial awkwardness he developed a bond with Lennon, particularly once he saw that Lennon was a fan of Captain Beefheart, who was a friend of Nesmith, and whose Safe as Milk album Lennon was examining when Nesmith turned up, and whose music at this point bore a lot of resemblance to the kind of thing Nesmith was doing: [Excerpt: Captain Beefheart and the Magic Band, "Yellow Brick Road"] Or at least, that's how Nesmith always told the story later -- though Safe as Milk didn't come out until nearly six months later. It's possible he's conflating memories from a later trip to the UK in June that year -- where he also talked about how Lennon was the only person he'd really got on with on the previous trip, because "he's a compassionate person. I know he has a reputation for being caustic, but it is only a cover for the depth of his feeling." Nesmith and Lennon apparently made some experimental music together during the brief stay, with Nesmith being impressed by Lennon's Mellotron and later getting one himself. Dolenz, meanwhile, was spending more time with Paul McCartney, and with Spencer Davis of his current favourite band The Spencer Davis Group. But even more than that he was spending a lot of time with Samantha Juste, a model and TV presenter whose job it was to play the records on Top of the Pops, the most important British TV pop show, and who had released a record herself a couple of months earlier, though it hadn't been a success: [Excerpt: Samantha Juste, "No-one Needs My Love Today"] The two quickly fell deeply in love, and Juste would become Dolenz's first wife the next year. When Nesmith and Dolenz arrived back in the US after their time off, they thought the plan was still to release "A Little Bit Me, A Little Bit You" with "The Girl I Knew Somewhere" on the B-side. So Nesmith was horrified to hear on the radio what the announcer said were the two sides of the new Monkees single -- "A Little Bit Me, A Little Bit You", and "She Hangs Out", another song from the Jeff Barry sessions with a Davy vocal. Don Kirshner had gone ahead and picked two songs from the Jeff Barry sessions and delivered them to RCA Records, who had put a single out in Canada. The single was very, *very* quickly withdrawn once the Monkees and the TV producers found out, and only promo copies seem to circulate -- rather than being credited to "the Monkees", both sides are credited to '"My Favourite Monkee" Davy Jones Sings'. The record had been withdrawn, but "A Little Bit Me, A Little Bit You" was clearly going to have to be the single. Three days after the record was released and pulled, Nesmith, Dolenz and Tork were back in the studio with Chip Douglas, recording a new B-side -- a new version of "The Girl I Knew Somewhere", this time with Dolenz on vocals. As Jones was still in the UK, John London added the tambourine part as well as the bass: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] As Nesmith told the story a couple of months later, "Bert said 'You've got to get this thing in Micky's key for Micky to sing it.' I said 'Has Donnie made a commitment? I don't want to go there and break my neck in order to get this thing if Donnie hasn't made a commitment. And Bert refused to say anything. He said 'I can't tell you anything except just go and record.'" What had happened was that the people at Columbia had had enough of Kirshner. As far as Rafelson and Schneider were concerned, the real problem in all this was that Kirshner had been making public statements taking all the credit for the Monkees' success and casting himself as the puppetmaster. They thought this was disrespectful to the performers -- and unstated but probably part of it, that it was disrespectful to Rafelson and Schneider for their work putting the TV show together -- and that Kirshner had allowed his ego to take over. Things like the liner notes for More of the Monkees which made Kirshner and his stable of writers more important than the performers had, in the view of the people at Raybert Productions, put the Monkees in an impossible position and forced them to push back. Schneider later said "Kirshner had an ego that transcended everything else. As a matter of fact, the press issue was probably magnified a hundred times over because of Kirshner. He wanted everybody thinking 'Hey, he's doing all this, not them.' In the end it was very self-destructive because it heightened the whole press issue and it made them feel lousy." Kirshner was out of a job, first as the supervisor for the Monkees and then as the head of Columbia/Screen Gems Music. In his place came Lester Sill, the man who had got Leiber and Stoller together as songwriters, who had been Lee Hazelwood's production partner on his early records with Duane Eddy, and who had been the "Les" in Philles Records until Phil Spector pushed him out. Sill, unlike Kirshner, was someone who was willing to take a back seat and just be a steadying hand where needed. The reissued version of "A Little Bit Me, A Little Bit You" went to number two on the charts, behind "Somethin' Stupid" by Frank and Nancy Sinatra, produced by Sill's old colleague Hazelwood, and the B-side, "The Girl I Knew Somewhere", also charted separately, making number thirty-nine on the charts. The Monkees finally had a hit that they'd written and recorded by themselves. Pinocchio had become a real boy: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] At the same session at which they'd recorded that track, the Monkees had recorded another Nesmith song, "Sunny Girlfriend", and that became the first song to be included on a new album, which would eventually be named Headquarters, and on which all the guitar, keyboard, drums, percussion, banjo, pedal steel, and backing vocal parts would for the first time be performed by the Monkees themselves. They brought in horn and string players on a couple of tracks, and the bass was variously played by John London, Chip Douglas, and Jerry Yester as Tork was more comfortable on keyboards and guitar than bass, but it was in essence a full band album. Jones got back the next day, and sessions began in earnest. The first song they recorded after his return was "Mr. Webster", a Boyce and Hart song that had been recorded with the Candy Store Prophets in 1966 but hadn't been released. This was one of three tracks on the album that were rerecordings of earlier outtakes, and it's fascinating to compare them, to see the strengths and weaknesses of both approaches. In the case of "Mr. Webster", the instrumental backing on the earlier version is definitely slicker: [Excerpt: The Monkees, "Mr. Webster (1st Recorded Version)"] But at the same time, there's a sense of dynamics in the group recording that's lacking from the original, like the backing dropping out totally on the word "Stop" -- a nice touch that isn't in the original. I am only speculating, but this may have been inspired by the similar emphasis on the word "stop" in "For What It's Worth" by Tork's old friend Stephen Stills: [Excerpt: The Monkees, "Mr. Webster (album version)"] Headquarters was a group album in another way though -- for the first time, Tork and Dolenz were bringing in songs they'd written -- Nesmith of course had supplied songs already for the two previous albums. Jones didn't write any songs himself yet, though he'd start on the next album, but he was credited with the rest of the group on two joke tracks, "Band 6", a jam on the Merrie Melodies theme “Merrily We Roll Along”, and "Zilch", a track made up of the four band members repeating nonsense phrases: [Excerpt: The Monkees, "Zilch"] Oddly, that track had a rather wider cultural resonance than a piece of novelty joke album filler normally would. It's sometimes covered live by They Might Be Giants: [Excerpt: They Might Be Giants, "Zilch"] While the rapper Del Tha Funkee Homosapien had a worldwide hit in 1991 with "Mistadobalina", built around a sample of Peter Tork from the track: [Excerpt: Del Tha Funkee Homosapien,"Mistadobalina"] Nesmith contributed three songs, all of them combining Beatles-style pop music and country influences, none more blatantly than the opening track, "You Told Me", which starts off parodying the opening of "Taxman", before going into some furious banjo-picking from Tork: [Excerpt: The Monkees, "You Told Me"] Tork, meanwhile, wrote "For Pete's Sake" with his flatmate of the time, and that became the end credits music for season two of the TV series: [Excerpt: The Monkees, "For Pete's Sake"] But while the other band members made important contributions, the track on the album that became most popular was the first song of Dolenz's to be recorded by the group. The lyrics recounted, in a semi-psychedelic manner, Dolenz's time in the UK, including meeting with the Beatles, who the song refers to as "the four kings of EMI", but the first verse is all about his new girlfriend Samantha Juste: [Excerpt: The Monkees, "Randy Scouse Git"] The song was released as a single in the UK, but there was a snag. Dolenz had given the song a title he'd heard on an episode of the BBC sitcom Til Death Us Do Part, which he'd found an amusing bit of British slang. Til Death Us Do Part was written by Johnny Speight, a writer with Associated London Scripts, and was a family sitcom based around the character of Alf Garnett, an ignorant, foul-mouthed reactionary bigot who hated young people, socialists, and every form of minority, especially Black people (who he would address by various slurs I'm definitely not going to repeat here), and was permanently angry at the world and abusive to his wife. As with another great sitcom from ALS, Steptoe and Son, which Norman Lear adapted for the US as Sanford and Son, Til Death Us Do Part was also adapted by Lear, and became All in the Family. But while Archie Bunker, the character based on Garnett in the US version, has some redeeming qualities because of the nature of US network sitcom, Alf Garnett has absolutely none, and is as purely unpleasant and unsympathetic a character as has ever been created -- which sadly didn't stop a section of the audience from taking him as a character to be emulated. A big part of the show's dynamic was the relationship between Garnett and his socialist son-in-law from Liverpool, played by Anthony Booth, himself a Liverpudlian socialist who would later have a similarly contentious relationship with his own decidedly non-socialist son-in-law, the future Prime Minister Tony Blair. Garnett was as close to foul-mouthed as was possible on British TV at the time, with Speight regularly negotiating with the BBC bosses to be allowed to use terms that were not otherwise heard on TV, and used various offensive terms about his family, including referring to his son-in-law as a "randy Scouse git". Dolenz had heard the phrase on TV, had no idea what it meant but loved the sound of it, and gave the song that title. But when the record came out in the UK, he was baffled to be told that the phrase -- which he'd picked up from a BBC TV show, after all -- couldn't be said normally on BBC broadcasts, so they would need to retitle the track. The translation into American English that Dolenz uses in his live shows to explain this to Americans is to say that "randy Scouse git" means "horny Liverpudlian putz", and that's more or less right. Dolenz took the need for an alternative title literally, and so the track that went to number two in the UK charts was titled "Alternate Title": [Excerpt: The Monkees, "Randy Scouse Git"] The album itself went to number one in both the US and the UK, though it was pushed off the top spot almost straight away by the release of Sgt Pepper. As sessions for Headquarters were finishing up, the group were already starting to think about their next album -- season two of the TV show was now in production, and they'd need to keep generating yet more musical material for it. One person they turned to was a friend of Chip Douglas'. Before the Turtles, Douglas had been in the Modern Folk Quartet, and they'd recorded "This Could Be the Night", which had been written for them by Harry Nilsson: [Excerpt: The MFQ, "This Could Be The Night"] Nilsson had just started recording his first solo album proper, at RCA Studios, the same studios that the Monkees were using. At this point, Nilsson still had a full-time job in a bank, working a night shift there while working on his album during the day, but Douglas knew that Nilsson was a major talent, and that assessment was soon shared by the group when Nilsson came in to demo nine of his songs for them: [Excerpt: Harry Nilsson, "1941 (demo)"] According to Nilsson, Nesmith said after that demo session "You just sat down there and blew our minds. We've been looking for songs, and you just sat down and played an *album* for us!" While the Monkees would attempt a few of Nilsson's songs over the next year or so, the first one they chose to complete was the first track recorded for their next album, Pisces, Aquarius, Capricorn, and Jones, Ltd., a song which from the talkback at the beginning of the demo was always intended for Davy Jones to sing: [Excerpt: Harry Nilsson, "Cuddly Toy (demo)"] Oddly, given his romantic idol persona, a lot of the songs given to Jones to sing were anti-romantic, and often had a cynical and misogynistic edge. This had started with the first album's "I Want to Be Free", but by Pisces, it had gone to ridiculous extremes. Of the four songs Jones sings on the album, "Hard to Believe", the first song proper that he ever co-wrote, is a straightforward love  song, but the other three have a nasty edge to them. A remade version of Jeff Barry's "She Hangs Out" is about an underaged girl, starts with the lines "How old d'you say your sister was? You know you'd better keep an eye on her" and contains lines like "she could teach you a thing or two" and "you'd better get down here on the double/before she gets her pretty little self in trouble/She's so fine". Goffin and King's "Star Collector" is worse, a song about a groupie with lines like "How can I love her, if I just don't respect her?" and "It won't take much time, before I get her off my mind" But as is so often the way, these rather nasty messages were wrapped up in some incredibly catchy music, and that was even more the case with "Cuddly Toy", a song which at least is more overtly unpleasant -- it's very obvious that Nilsson doesn't intend the protagonist of the song to be at all sympathetic, which is possibly not the case in "She Hangs Out" or "Star Collector". But the character Jones is singing is *viciously* cruel here, mocking and taunting a girl who he's coaxed to have sex with him, only to scorn her as soon as he's got what he wanted: [Excerpt: The Monkees, "Cuddly Toy"] It's a great song if you like the cruelest of humour combined with the cheeriest of music, and the royalties from the song allowed Nilsson to quit the job at the bank. "Cuddly Toy", and Chip Douglas and Bill Martin's song "The Door Into Summer", were recorded the same way as Headquarters, with the group playing *as a group*, but as recordings for the album progressed the group fell into a new way of working, which Peter Tork later dubbed "mixed-mode". They didn't go back to having tracks cut for them by session musicians, apart from Jones' song "Hard to Believe", for which the entire backing track was created by one of his co-writers overdubbing himself, but Dolenz, who Tork always said was "incapable of repeating a triumph", was not interested in continuing to play drums in the studio. Instead, a new hybrid Monkees would perform most of the album. Nesmith would still play the lead guitar, Tork would provide the keyboards, Chip Douglas would play all the bass and add some additional guitar, and "Fast" Eddie Hoh, the session drummer who had been a touring drummer with the Modern Folk Quartet and the Mamas and the Papas, among others, would play drums on the records, with Dolenz occasionally adding a bit of acoustic guitar. And this was the lineup that would perform on the hit single from Pisces. "Pleasant Valley Sunday" was written by Gerry Goffin and Carole King, who had written several songs for the group's first two albums (and who would continue to provide them with more songs). As with their earlier songs for the group, King had recorded a demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] Previously -- and subsequently -- when presented with a Carole King demo, the group and their producers would just try to duplicate it as closely as possible, right down to King's phrasing. Bob Rafelson has said that he would sometimes hear those demos and wonder why King didn't just make records herself -- and without wanting to be too much of a spoiler for a few years' time, he wasn't the only one wondering that. But this time, the group had other plans. In particular, they wanted to make a record with a strong guitar riff to it -- Nesmith has later referenced their own "Last Train to Clarksville" and the Beatles' "Day Tripper" as two obvious reference points for the track. Douglas came up with a riff and taught it to Nesmith, who played it on the track: [Excerpt: The Monkees, "Pleasant Valley Sunday"] The track also ended with the strongest psychedelic -- or "psycho jello" as the group would refer to it -- freak out that they'd done to this point, a wash of saturated noise: [Excerpt: The Monkees, "Pleasant Valley Sunday"] King was unhappy with the results, and apparently glared at Douglas the next time they met. This may be because of the rearrangement from her intentions, but it may also be for a reason that Douglas later suspected. When recording the track, he hadn't been able to remember all the details of her demo, and in particular he couldn't remember exactly how the middle eight went. This is the version on King's demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] While here's how the Monkees rendered it, with slightly different lyrics: [Excerpt: The Monkees, "Pleasant Valley Sunday"] I also think there's a couple of chord changes in the second verse that differ between King and the Monkees, but I can't be sure that's not my ears deceiving me. Either way, though, the track was a huge success, and became one of the group's most well-known and well-loved tracks, making number three on the charts behind "All You Need is Love" and "Light My Fire". And while it isn't Dolenz drumming on the track, the fact that it's Nesmith playing guitar and Tork on the piano -- and the piano part is one of the catchiest things on the record -- meant that they finally had a proper major hit on which they'd played (and it seems likely that Dolenz contributed some of the acoustic rhythm guitar on the track, along with Bill Chadwick, and if that's true all three Monkee instrumentalists did play on the track). Pisces is by far and away the best album the group ever made, and stands up well against anything else that came out around that time. But cracks were beginning to show in the group. In particular, the constant battle to get some sort of creative input had soured Nesmith on the whole project. Chip Douglas later said "When we were doing Pisces Michael would come in with three songs; he knew he had three songs coming on the album. He knew that he was making a lot of money if he got his original songs on there. So he'd be real enthusiastic and cooperative and real friendly and get his three songs done. Then I'd say 'Mike, can you come in and help on this one we're going to do with Micky here?' He said 'No, Chip, I can't. I'm busy.' I'd say, 'Mike, you gotta come in the studio.' He'd say 'No Chip, I'm afraid I'm just gonna have to be ornery about it. I'm not comin' in.' That's when I started not liking Mike so much any more." Now, as is so often the case with the stories from this period, this appears to be inaccurate in the details -- Nesmith is present on every track on the album except Jones' solo "Hard to Believe" and Tork's spoken-word track "Peter Percival Patterson's Pet Pig Porky", and indeed this is by far the album with *most* Nesmith input, as he takes five lead vocals, most of them on songs he didn't write. But Douglas may well be summing up Nesmith's *attitude* to the band at this point -- listening to Nesmith's commentaries on episodes of the TV show, by this point he felt disengaged from everything that was going on, like his opinions weren't welcome. That said, Nesmith did still contribute what is possibly the single most innovative song the group ever did, though the innovations weren't primarily down to Nesmith: [Excerpt: The Monkees, "Daily Nightly"] Nesmith always described the lyrics to "Daily Nightly" as being about the riots on Sunset Strip, but while they're oblique, they seem rather to be about streetwalking sex workers -- though it's perhaps understandable that Nesmith would never admit as much. What made the track innovative was the use of the Moog synthesiser. We talked about Robert Moog in the episode on "Good Vibrations" -- he had started out as a Theremin manufacturer, and had built the ribbon synthesiser that Mike Love played live on "Good Vibrations", and now he was building the first commercially available easily usable synthesisers. Previously, electronic instruments had either been things like the clavioline -- a simple monophonic keyboard instrument that didn't have much tonal variation -- or the RCA Mark II, a programmable synth that could make a wide variety of sounds, but took up an entire room and was programmed with punch cards. Moog's machines were bulky but still transportable, and they could be played in real time with a keyboard, but were still able to be modified to make a wide variety of different sounds. While, as we've seen, there had been electronic keyboard instruments as far back as the 1930s, Moog's instruments were for all intents and purposes the first synthesisers as we now understand the term. The Moog was introduced in late spring 1967, and immediately started to be used for making experimental and novelty records, like Hal Blaine's track "Love In", which came out at the beginning of June: [Excerpt: Hal Blaine, "Love In"] And the Electric Flag's soundtrack album for The Trip, the drug exploitation film starring Peter Fonda and Dennis Hopper and written by Jack Nicholson we talked about last time, when Arthur Lee moved into a house used in the film: [Excerpt: The Electric Flag, "Peter's Trip"] In 1967 there were a total of six albums released with a Moog on them (as well as one non-album experimental single). Four of the albums were experimental or novelty instrumental albums of this type. Only two of them were rock albums -- Strange Days by the Doors, and Pisces, Aquarius, Capricorn, & Jones Ltd by the Monkees. The Doors album was released first, but I believe the Monkees tracks were recorded before the Doors overdubbed the Moog on the tracks on their album, though some session dates are hard to pin down exactly. If that's the case it would make the Monkees the very first band to use the Moog on an actual rock record (depending on exactly how you count the Trip soundtrack -- this gets back again to my old claim that there's no first anything). But that's not the only way in which "Daily Nightly" was innovative. All the first seven albums to feature the Moog featured one man playing the instrument -- Paul Beaver, the Moog company's West Coast representative, who played on all the novelty records by members of the Wrecking Crew, and on the albums by the Electric Flag and the Doors, and on The Notorious Byrd Brothers by the Byrds, which came out in early 1968. And Beaver did play the Moog on one track on Pisces, "Star Collector". But on "Daily Nightly" it's Micky Dolenz playing the Moog, making him definitely the second person ever to play a Moog on a record of any kind: [Excerpt: The Monkees, "Daily Nightly"] Dolenz indeed had bought his own Moog -- widely cited as being the second one ever in private ownership, a fact I can't check but which sounds plausible given that by 1970 less than thirty musicians owned one -- after seeing Beaver demonstrate the instrument at the Monterey Pop Festival. The Monkees hadn't played Monterey, but both Dolenz and Tork had attended the festival -- if you watch the famous film of it you see Dolenz and his girlfriend Samantha in the crowd a *lot*, while Tork introduced his friends in the Buffalo Springfield. As well as discovering the Moog there, Dolenz had been astonished by something else: [Excerpt: The Jimi Hendrix Experience, "Hey Joe (Live at Monterey)"] As Peter Tork later put it "I didn't get it. At Monterey Jimi followed the Who and the Who busted up their things and Jimi bashed up his guitar. I said 'I just saw explosions and destruction. Who needs it?' But Micky got it. He saw the genius and went for it." Dolenz was astonished by Hendrix, and insisted that he should be the support act on the group's summer tour. This pairing might sound odd on paper, but it made more sense at the time than it might sound. The Monkees were by all accounts a truly astonishing live act at this point -- Frank Zappa gave them a backhanded compliment by saying they were the best-sounding band in LA, before pointing out that this was because they could afford the best equipment. That *was* true, but it was also the case that their TV experience gave them a different attitude to live performance than anyone else performing at the time. A handful of groups had started playing stadiums, most notably of course the Beatles, but all of these acts had come up through playing clubs and theatres and essentially just kept doing their old act with no thought as to how the larger space worked, except to put their amps through a louder PA. The Monkees, though, had *started* in stadiums, and had started out as mass entertainers, and so their live show was designed from the ground up to play to those larger spaces. They had costume changes, elaborate stage sets -- like oversized fake Vox amps they burst out of at the start of the show -- a light show and a screen on which film footage was projected. In effect they invented stadium performances as we now know them. Nesmith later said "In terms of putting on a show there was never any question in my mind, as far as the rock 'n' roll era is concerned, that we put on probably the finest rock and roll stage show ever. It was beautifully lit, beautifully costumed, beautifully produced. I mean, for Christ sakes, it was practically a revue." The Monkees were confident enough in their stage performance that at a recent show at the Hollywood Bowl they'd had Ike and Tina Turner as their opening act -- not an act you'd want to go on after if you were going to be less than great, and an act from very similar chitlin' circuit roots to Jimi Hendrix. So from their perspective, it made sense. If you're going to be spectacular yourselves, you have no need to fear a spectacular opening act. Hendrix was less keen -- he was about the only musician in Britain who *had* made disparaging remarks about the Monkees -- but opening for the biggest touring band in the world isn't an opportunity you pass up, and again it isn't such a departure as one might imagine from the bills he was already playing. Remember that Monterey is really the moment when "pop" and "rock" started to split -- the split we've been talking about for a few months now -- and so the Jimi Hendrix Experience were still considered a pop band, and as such had played the normal British pop band package tours. In March and April that year, they'd toured on a bill with the Walker Brothers, Cat Stevens, and Englebert Humperdinck -- and Hendrix had even filled in for Humperdinck's sick guitarist on one occasion. Nesmith, Dolenz, and Tork all loved having Hendrix on tour with them, just because it gave them a chance to watch him live every night (Jones, whose musical tastes were more towards Anthony Newley, wasn't especially impressed), and they got on well on a personal level -- there are reports of Hendrix jamming with Dolenz and Steve Stills in hotel rooms. But there was one problem, as Dolenz often recreates in his live act: [Excerpt: Micky Dolenz, "Purple Haze"] The audience response to Hendrix from the Monkees' fans was so poor that by mutual agreement he left the tour after only a handful of shows. After the summer tour, the group went back to work on the TV show and their next album. Or, rather, four individuals went back to work. By this point, the group had drifted apart from each other, and from Douglas -- Tork, the one who was still keenest on the idea of the group as a group, thought that Pisces, good as it was, felt like a Chip Douglas album rather than a Monkees album. The four band members had all by now built up their own retinues of hangers-on and collaborators, and on set for the TV show they were now largely staying with their own friends rather than working as a group. And that was now reflected in their studio work. From now on, rather than have a single producer working with them as a band, the four men would work as individuals, producing their own tracks, occasionally with outside help, and bringing in session musicians to work on them. Some tracks from this point on would be genuine Monkees -- plural -- tracks, and all tracks would be credited as "produced by the Monkees", but basically the four men would from now on be making solo tracks which would be combined into albums, though Dolenz and Jones would occasionally guest on tracks by the others, especially when Nesmith came up with a song he thought would be more suited to their voices. Indeed the first new recording that happened after the tour was an entire Nesmith solo album -- a collection of instrumental versions of his songs, called The Wichita Train Whistle Sings, played by members of the Wrecking Crew and a few big band instrumentalists, arranged by Shorty Rogers. [Excerpt: Michael Nesmith, "You Told Me"] Hal Blaine in his autobiography claimed that the album was created as a tax write-off for Nesmith, though Nesmith always vehemently denied it, and claimed it was an artistic experiment, though not one that came off well. Released alongside Pisces, though, came one last group-recorded single. The B-side, "Goin' Down", is a song that was credited to the group and songwriter Diane Hildebrand, though in fact it developed from a jam on someone else's song. Nesmith, Tork, Douglas and Hoh attempted to record a backing track for a version of Mose Allison's jazz-blues standard "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] But after recording it, they'd realised that it didn't sound that much like the original, and that all it had in common with it was a chord sequence. Nesmith suggested that rather than put it out as a cover version, they put a new melody and lyrics to it, and they commissioned Hildebrand, who'd co-written songs for the group before, to write them, and got Shorty Rogers to write a horn arrangement to go over their backing track. The eventual songwriting credit was split five ways, between Hildebrand and the four Monkees -- including Davy Jones who had no involvement with the recording, but not including Douglas or Hoh. The lyrics Hildebrand came up with were a funny patter song about a failed suicide, taken at an extremely fast pace, which Dolenz pulls off magnificently: [Excerpt: The Monkees, "Goin' Down"] The A-side, another track with a rhythm track by Nesmith, Tork, Douglas, and Hoh, was a song that had been written by John Stewart of the Kingston Trio, who you may remember from the episode on "San Francisco" as being a former songwriting partner of John Phillips. Stewart had written the song as part of a "suburbia trilogy", and was not happy with the finished product. He said later "I remember going to bed thinking 'All I did today was write 'Daydream Believer'." Stewart used to include the song in his solo sets, to no great approval, and had shopped the song around to bands like We Five and Spanky And Our Gang, who had both turned it down. He was unhappy with it himself, because of the chorus: [Excerpt: John Stewart, "Daydream Believer"] Stewart was ADHD, and the words "to a", coming as they did slightly out of the expected scansion for the line, irritated him so greatly that he thought the song could never be recorded by anyone, but when Chip Douglas asked if he had any songs, he suggested that one. As it turned out, there was a line of lyric that almost got the track rejected, but it wasn't the "to a". Stewart's original second verse went like this: [Excerpt: John Stewart, "Daydream Believer"] RCA records objected to the line "now you know how funky I can be" because funky, among other meanings, meant smelly, and they didn't like the idea of Davy Jones singing about being smelly. Chip Douglas phoned Stewart to tell him that they were insisting on changing the line, and suggesting "happy" instead. Stewart objected vehemently -- that change would reverse the entire meaning of the line, and it made no sense, and what about artistic integrity? But then, as he later said "He said 'Let me put it to you this way, John. If he can't sing 'happy' they won't do it'. And I said 'Happy's working real good for me now.' That's exactly what I said to him." He never regretted the decision -- Stewart would essentially live off the royalties from "Daydream Believer" for the rest of his life -- though he seemed always to be slightly ambivalent and gently mocking about the song in his own performances, often changing the lyrics slightly: [Excerpt: John Stewart, "Daydream Believer"] The Monkees had gone into the studio and cut the track, again with Tork on piano, Nesmith on guitar, Douglas on bass, and Hoh on drums. Other than changing "funky" to "happy", there were two major changes made in the studio. One seems to have been Douglas' idea -- they took the bass riff from the pre-chorus to the Beach Boys' "Help Me Rhonda": [Excerpt: The Beach Boys, "Help Me Rhonda"] and Douglas played that on the bass as the pre-chorus for "Daydream Believer", with Shorty Rogers later doubling it in the horn arrangement: [Excerpt: The Monkees, "Daydream Believer"] And the other is the piano intro, which also becomes an instrumental bridge, which was apparently the invention of Tork, who played it: [Excerpt: The Monkees, "Daydream Believer"] The track went to number one, becoming the group's third and final number one hit, and their fifth of six million-sellers. It was included on the next album, The Birds, The Bees, and the Monkees, but that piano part would be Tork's only contribution to the album. As the group members were all now writing songs and cutting their own tracks, and were also still rerecording the odd old unused song from the initial 1966 sessions, The Birds, The Bees, and the Monkees was pulled together from a truly astonishing amount of material. The expanded triple-CD version of the album, now sadly out of print, has multiple versions of forty-four different songs, ranging from simple acoustic demos to completed tracks, of which twelve were included on the final album. Tork did record several tracks during the sessions, but he spent much of the time recording and rerecording a single song, "Lady's Baby", which eventually stretched to five different recorded versions over multiple sessions in a five-month period. He racked up huge studio bills on the track, bringing in Steve Stills and Dewey Martin of the Buffalo Springfield, and Buddy Miles, to try to help him capture the sound in his head, but the various takes are almost indistinguishable from one another, and so it's difficult to see what the problem was: [Excerpt: The Monkees, "Lady's Baby"] Either way, the track wasn't finished by the time the album came out, and the album that came out was a curiously disjointed and unsatisfying effort, a mixture of recycled old Boyce and Hart songs, some songs by Jones, who at this point was convinced that "Broadway-rock" was going to be the next big thing and writing songs that sounded like mediocre showtunes, and a handful of experimental songs written by Nesmith. You could pull together a truly great ten- or twelve-track album from the masses of material they'd recorded, but the one that came out was mediocre at best, and became the first Monkees album not to make number one -- though it still made number three and sold in huge numbers. It also had the group's last million-selling single on it, "Valleri", an old Boyce and Hart reject from 1966 that had been remade with Boyce and Hart producing and their old session players, though the production credit was still now given to the Monkees: [Excerpt: The Monkees, "Valleri"] Nesmith said at the time he considered it the worst song ever written. The second season of the TV show was well underway, and despite -- or possibly because of -- the group being clearly stoned for much of the filming, it contains a lot of the episodes that fans of the group think of most fondly, including several episodes that break out of the formula the show had previously established in interesting ways. Tork and Dolenz were both also given the opportunity to direct episodes, and Dolenz also co-wrote his episode, which ended up being the last of the series. In another sign of how the group were being given more creative control over the show, the last three episodes of the series had guest appearances by favourite musicians of the group members who they wanted to give a little exposure to, and those guest appearances sum up the character of the band members remarkably well. Tork, for whatever reason, didn't take up this option, but the other three did. Jones brought on his friend Charlie Smalls, who would later go on to write the music for the Broadway musical The Wiz, to demonstrate to Jones the difference between Smalls' Black soul and Jones' white soul: [Excerpt: Davy Jones and Charlie Smalls] Nesmith, on the other hand, brought on Frank Zappa. Zappa put on Nesmith's Monkee shirt and wool hat and pretended to be Nesmith, and interviewed Nesmith with a false nose and moustache pretending to be Zappa, as they both mercilessly mocked the previous week's segment with Jones and Smalls: [Excerpt: Michael Nesmith and Frank Zappa] Nesmith then "conducted" Zappa as Zappa used a sledgehammer to "play" a car, parodying his own appearance on the Steve Allen Show playing a bicycle, to the presumed bemusement of the Monkees' fanbase who would not be likely to remember a one-off performance on a late-night TV show from five years earlier. And the final thing ever to be shown on an episode of the Monkees didn't feature any of the Monkees at all. Micky Dolenz, who directed and co-wrote that episode, about an evil wizard who was using the power of a space plant (named after the group's slang for dope) to hypnotise people through the TV, chose not to interact with his guest as the others had, but simply had Tim Buckley perform a solo acoustic version of his then-unreleased song "Song to the Siren": [Excerpt: Tim Buckley, "Song to the Siren"] By the end of the second season, everyone knew they didn't want to make another season of the TV show. Instead, they were going to do what Rafelson and Schneider had always wanted, and move into film. The planning stages for the film, which was initially titled Changes but later titled Head -- so that Rafelson and Schneider could bill their next film as "From the guys who gave you Head" -- had started the previous summer, before the sessions that produced The Birds, The Bees, and the Monkees. To write the film, the group went off with Rafelson and Schneider for a short holiday, and took with them their mutual friend Jack Nicholson. Nicholson was at this time not the major film star he later became. Rather he was a bit-part actor who was mostly associated with American International Pictures, the ultra-low-budget film company that has come up on several occasions in this podcast. Nicholson had appeared mostly in small roles, in films like The Little Shop of Horrors: [Excerpt: The Little Shop of Horrors] He'd appeared in multiple films made by Roger Corman, often appearing with Boris Karloff, and by Monte Hellman, but despite having been a working actor for a decade, his acting career was going nowhere, and by this point he had basically given up on the idea of being an actor, and had decided to start working behind the camera. He'd written the scripts for a few of the low-budget films he'd appeared in, and he'd recently scripted The Trip, the film we mentioned earlier: [Excerpt: The Trip trailer] So the group, Rafelson, Schneider, and Nicholson all went away for a weekend, and they all got extremely stoned, took acid, and talked into a tape recorder for hours on end. Nicholson then transcribed those recordings, cleaned them up, and structured the worthwhile ideas into something quite remarkable: [Excerpt: The Monkees, "Ditty Diego"] If the Monkees TV show had been inspired by the Marx Brothers and Three Stooges, and by Richard Lester's directorial style, the only precursor I can find for Head is in the TV work of Lester's colleague Spike Milligan, but I don't think there's any reasonable way in which Nicholson or anyone else involved could have taken inspiration from Milligan's series Q.  But what they ended up with is something that resembles, more than anything else, Monty Python's Flying Circus, a TV series that wouldn't start until a year after Head came out. It's a series of ostensibly unconnected sketches, linked by a kind of dream logic, with characters wandering from one loose narrative into a totally different one, actors coming out of character on a regular basis, and no attempt at a coherent narrative. It contains regular examples of channel-zapping, with excerpts from old films being spliced in, and bits of news footage juxtaposed with comedy sketches and musical performances in ways that are sometimes thought-provoking, sometimes distasteful, and occasionally both -- as when a famous piece of footage of a Vietnamese prisoner of war being shot in the head hard-cuts to screaming girls in the audience at a Monkees concert, a performance which ends with the girls tearing apart the group and revealing that they're really just cheap-looking plastic mannequins. The film starts, and ends, with the Monkees themselves attempting suicide, jumping off a bridge into the ocean -- but the end reveals that in fact the ocean they're in is just water in a glass box, and they're trapped in it. And knowing this means that when you watch the film a second time, you find that it does have a story. The Monkees are trapped in a box which in some ways represents life, the universe, and one's own mind, and in other ways represents the TV and their TV careers. Each of them is trying in his own way to escape, and each ends up trapped by his own limitations, condemned to start the cycle over and over again. The film features parodies of popular film genres like the boxing film (Davy is supposed to throw a fight with Sonny Liston at the instruction of gangsters), the Western, and the war film, but huge chunks of the film take place on a film studio backlot, and characters from one segment reappear in another, often commenting negatively on the film or the band, as when Frank Zappa as a critic calls Davy Jones' soft-shoe routine to a Harry Nilsson song "very white", or when a canteen worker in the studio calls the group "God's gift to the eight-year-olds". The film is constantly deconstructing and commenting on itself and the filmmaking process -- Tork hits that canteen worker, whose wig falls off revealing the actor playing her to be a man, and then it's revealed that the "behind the scenes" footage is itself scripted, as director Bob Rafelson and scriptwriter Jack Nicholson come into frame and reassure Tork, who's concerned that hitting a woman would be bad for his image. They tell him they can always cut it from the finished film if it doesn't work. While "Ditty Diego", the almost rap rewriting of the Monkees theme we heard earlier, sets out a lot of how the film asks to be interpreted and how it works narratively, the *spiritual* and thematic core of the film is in another song, Tork's "Long Title (Do I Have to Do This All Over Again?)", which in later solo performances Tork would give the subtitle "The Karma Blues": [Excerpt: The Monkees, "Long Title (Do I Have To Do This All Over Again?)"] Head is an extraordinary film, and one it's impossible to sum up in anything less than an hour-long episode of its own. It's certainly not a film that's to everyone's taste, and not every aspect of it works -- it is a film that is absolutely of its time, in ways that are both good and bad. But it's one of the most inventive things ever put out by a major film studio, and it's one that rightly secured the Monkees a certain amount of cult credibility over the decades. The soundtrack album is a return to form after the disappointing Birds, Bees, too. Nicholson put the album together, linking the eight songs in the film with collages of dialogue and incidental music, repurposing and recontextualising the dialogue to create a new experience, one that people have compared with Frank Zappa's contemporaneous We're Only In It For The Money, though while t