Podcasts about Little Feat

15. Lyle Lovett / I'm a Soldier in the Army of the Lord 16. John Hiatt / Have a Little Faith in Me 17. Josh Hoyer / Mr. One Up 18. Michael McDonald / Cry Like a Rainy Day 19. Mike Farris / Let Me Love You Baby 20. Tom Johnston (Doobie Brothers) & Delbert McClinton / Giving It Up for You Love 21. Josh Hoyer / Green Light 22. Al Green / I Can't Get Next to You 23. Josh Hoyer / Beautiful People24. Bob Segar / Busload of Faith 25. Lyle Lovett & Keb Mo / Till it Shines 26. Luther Allison / Gamblers Blues 27. Johnny Winter / You Keep Sayin' That You're Leaving 28. Josh Hoyer / Business As Usual 29. Trombone Shorty / For True30. Terrance Blanchard / Compared to What 31. Josh Hoyer / Crazy Love  Upcoming Shows & Events of InterestMarch 19 Coyote Bill, Mouth of the South (Brunch) 22 Stephen Monroe, The Pit BBQ Lounge22 JigJam, Zoo Bar23 Roger Clyne & Peacemakers, Waiting Room 23 Ninja Phunk, B. Bar24 Blood Sweat & Tears, Holland24 Smithereens w/ Marshall Crenshaw @ Knuckleheads24 Travis, The Band, Firebird Lounge24 Iris DeMent, Waiting Room 24 Mezcal Brothers, B. Bar 25 Danielle Nicole w/Brandon Miller, Stocks & Bonds 25 Blue House & the Rent to Own Horns, The Dock Bar & Grill 26 Josh Hoyer, Mouth of the South (brunch) 27 Jigjam, Zoo Bar 31 Michael Charles @ B.BarApril6 Joanna Connor, Waiting Room6 Third Eye Blind, Orpheum6 Pink Floyd Tribute, Holland12 ZZ Top, Orpheum20 Earth Day 22 Record Store Day28 The New Pornographers, Waiting Room (Neko Case) 29 Boo Boo Davis, The Jewell30 Ivy Ford, The Jewell May2 Jason Isbell & Amythyst Kian, Orpheum4 Harper, B.Bar6 Built to Spill, Waiting Room6 Blues Society Annual Meeting (5 p.m.), B. Bar10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 15 Beatles Tribute, Orpheum18 Big Al & The Heavyweights, Philly20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. BarJune3 Soaring Wings Vineyard Blues, Booze & Balloons9-11 Summer Arts Festival16 Flaming Lips, Steel21 Marcia Ball & Ray Wylie Hubbard, Eureka Springs Auditorium (Arkansas)July 6-8 Zoo Fest, Zoo Bar8 Orchestra plays music of Dr. Dre15 Tori Amos @ Orpheum14/15 Playing w./ Fire (part one)19 Little Feat & Leftover Salmon, Orpheum25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)28 Diana Krall @ Holland28 Maha Music Festival29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 4 New American Arts Festival, Benson area5 In the Market for Blues11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11/12 Playing with Fire (part two)20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasSeptember15-17 Telluride Blues Festival (Bonnie Raitt) In the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at Kansas City's Knuckleheads SaloonMarch 24th, Larry Campbell & Teresa Williams w/ Shawn Mullins,March 26th, Cowboy Mouth,April 1st, Roger Clyne & The Peacemakers,April 8th, Chris Cain,April 19th, Rev Peyton's Big Damn BandMay 11th, Brandon Santini,May 20th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,Upcoming shows at the Hoyt Sherman in Des Moines include...July 29th, Diana KrallThe Englert Theater in Iowa City has some good shows coming up this year.April 21 & 22, David Sedaris

17. Tinsley Ellis / One Last Ride 18. Nick Schnebelen / Ten Years After, Fifty Years Later19. Trombone Shorty / Do to Me 20. Danielle Nicole / Burning for You 21. Kris Lager Band / Fly with the Stars22. Steve Earle / Mr. Bojangles 23. Sugaray Rayford / Miss Information 24. Black Keys / Poor Boy a Long Way From Home 25. Eric Bibb / Family 26. Hector Anchondo / Heart & Soul 27. Rory Block / Fast Car (Tracy Chapman) 28. Eric Clapton / Going Down Slow 29. Beth Hart w/ Joe Bonamassa /  Sunday Kind of Love 30. Kathy Richardson / Try a Little Bit Harder31. Janis Joplin / (Got Dem Old) Kozmic Blues 32. Dana Fuchs / Double Down on Wrong33. Buddy Guy w/ Van Morrison / Flesh & Bone (Dedicated to BB King) 34. Van Morrison / Worried Man Blues 35. Jig Jam / Tullamore to Boston 36. Gary Moore / Someday Baby Upcoming Shows & Events of InterestMarch 12 Ava Blue, Mouth of the South (Brunch) [1111 Harney] 15 Tinsley Ellis, Waiting Room16 Kevin Lloyd, B Bar17 Stephen Monroe, Malone's Irish Pub 17 Steve Lovett, Donohue's Pub 19 Coyote Bill, Mouth of the South (Brunch) 22 Stephen Monroe, The Pit BBQ Lounge22 JigJam, Zoo Bar23 Roger Clyne & Peacemakers, Waiting Room 23 Ninja Phunk, B. Bar24 Blood Sweat & Tears, Holland24 Smithereens w/ Marshall Crenshaw @ Knuckleheads24 Travis, The Band, Firebird Lounge24 Iris DeMent, Waiting Room 24 Mezcal Brothers, B. Bar 25 Jason Birnstihl Birthday Party, Benson Theater 25 Danielle Nicole w/Brandon Miller, Stocks & Bonds 25 Blue House & the Rent to Own Horns, The Dock Bar & Grill 26 Josh Hoyer, Mouth of the South (brunch) 27  Jigjam, Zoo Bar 31 Michael Charles @ B.BarApril6 Joanna Connor, Waiting Room6 Third Eye Blind, Orpheum6 Pink Floyd Tribute, Holland12 ZZ Top, Orpheum20 Earth Day 22 Record Store Day28 The New Pornographers, Waiting Room (Neko Case) 29 Boo Boo Davis, The Jewell30 Ivy Ford, The Jewell May2 Jason Isbell & Amythyst Kian, Orpheum4 Harper, B.Bar6 Built to Spill, Waiting Room6 Blues Society Annual Meeting (5 p.m.), B. Bar10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 15 Beatles Tribute, Orpheum18 Big Al & The Heavyweights, Philly20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. BarJune3 Soaring Wings Vineyard Blues, Booze & Balloons9-11 Summer Arts Festival16 Flaming Lips, SteelJuly 6-8 Zoo Fest8 Orchestra plays music of Dr. Dre15 Tori Amos @ Orpheum14/15 Playing w./ Fire (part one)19 Little Feat & Leftover Salmon, Orpheum25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)28 Diana Krall @ Holland28 Maha Music Festival29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 4 New American Arts Festival, Benson area5 In the Market for Blues11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11/12 Playing with Fire (part two)20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at Kansas City's Knuckleheads SaloonMarch 24th, Larry Campbell & Teresa Williams w/ Shawn Mullins,March 26th, Cowboy Mouth,April 1st, Roger Clyne & The Peacemakers,April 8th, Chris Cain,April 19th, Rev Peyton's Big Damn BandMay 11th, Brandon Santini,May 20th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks, shows at the Hoyt ShermUpcomingan in Des Moines include...July 29th, Diana KrallThe Englert Theater in Iowa City has some good shows coming up this year.March 12th, Eric GalesMarch 14th, Drive-By Truckers March 15th, Nitty Gritty Dirt BandApril 21 & 22, David Sedaris

PLAYLIST Pacific St Blues & Americana“Don't be the best in town. Just be the best until the best comes around.” Buddy Guy1. Blue House and the Rent to Own Horns / Every Day I Have the Blues2. Bonerama / Hey, Hey3. Caroline Chocolate Drops / Your Baby Ain't Sweet Like Mine4. Nina Simone / Just Like a Woman 5. Blind Willie McTell / Statesboro Blues 6. Jimmy Reed / I Wanna Be Loved 7. Keb Mo / Good to Be Home 8. Joe McCarthy / Good Day for a Bad Habit 9. Marcus King / Blues Worse Than I Ever Had 10. Tedeschi Trucks Band / Soul Sweet Song 11. Allman Brothers / Don't Keep Me Wonderin' No More12. Robben Ford / One Way Out 13. Bonnie Raitt / Made Up Mind14. The Little Willies / I'll Never Get Out of This World Alive 15. Nighthawks / You Seem Distant 16. Fabulous Thunderbirds / Stand Back Upcoming Shows & Events of InterestMarch 12 Ava Blue, Mouth of the South (Brunch) [1111 Harney] 15 Tinsley Ellis, Waiting Room16 Kevin Lloyd, B Bar17 Stephen Monroe, Malone's Irish Pub 17 Steve Lovett, Donohue's Pub 19 Coyote Bill, Mouth of the South (Brunch) 22 Stephen Monroe, The Pit BBQ Lounge22 JigJam, Zoo Bar23 Roger Clyne & Peacemakers, Waiting Room 23 Ninja Phunk, B. Bar24 Blood Sweat & Tears, Holland24 Smithereens w/ Marshall Crenshaw @ Knuckleheads24 Travis, The Band, Firebird Lounge24 Iris DeMent, Waiting Room 24 Mezcal Brothers, B. Bar 25 Danielle Nicole w/Brandon Miller, Stocks & Bonds 25 Blue House & the Rent to Own Horns, The Dock Bar & Grill 26 Josh Hoyer, Mouth of the South (brunch) 27  Jigjam, Zoo Bar 31 Michael Charles @ B.BarApril6 Joanna Connor, Waiting Room6 Third Eye Blind, Orpheum6 Pink Floyd Tribute, Holland12 ZZ Top, Orpheum20 Earth Day 22 Record Store Day28 The New Pornographers, Waiting Room (Neko Case) 29 Boo Boo Davis, The Jewell30 Ivy Ford, The Jewell May2 Jason Isbell & Amythyst Kian, Orpheum4 Harper, B.Bar6 Built to Spill, Waiting Room6 Blues Society Annual Meeting (5 p.m.), B. Bar10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 15 Beatles Tribute, Orpheum18 Big Al & The Heavyweights, Philly20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. BarJune3 Soaring Wings Vineyard Blues, Booze & Balloons9-11 Summer Arts Festival16 Flaming Lips, SteelJuly 6-8 Zoo Fest, Zoo Bar8 Orchestra plays music of Dr. Dre15 Tori Amos @ Orpheum14/15 Playing w./ Fire (part one)19 Little Feat & Leftover Salmon, Orpheum25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)28 Diana Krall @ Holland28 Maha Music Festival29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 4 New American Arts Festival, Benson area5 In the Market for Blues11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11/12 Playing with Fire (part two)20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at Kansas City's Knuckleheads SaloonMarch 24th, Larry Campbell & Teresa Williams w/ Shawn Mullins,March 26th, Cowboy Mouth,April 1st, Roger Clyne & The Peacemakers,April 8th, Chris Cain,April 19th, Rev Peyton's Big Damn BandMay 11th, Brandon Santini,May 20th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,Upcoming shows at the Hoyt Sherman in Des Moines include...July 29th, Diana KrallThe Englert Theater in Iowa City has some good shows coming up this year.March 12th, Eric GalesMarch 14th, Drive-By Truckers March 15th, Nitty Gritty Dirt BandApril 21 & 22, David Sedaris

On this week's podcast, we dig into one of the most respected and understated guitarists in the business, Ry Cooder, and his 1974 LP Paradise and Lunch. Cooder's slide guitar has graced albums by Van Morrison, Little Feat, and the Rolling Stones. He has also written and performed music on countless soundtracks and is perhaps most well known for his work with the Buena Vista Social Club. On Paradise and Lunch, Cooder covers a variety of tunes from a variety of genres, including obscure blues and folk tunes, and even an Burt Bacharach song. Most deal with the up and downs of romantic relationships and feature Cooder's sly guitar and chameleon-like vocals. If you're not familiar with the song stylings of Ry Cooder, this is an excellent place to start.

In this episode we welcome pioneering '60s rock writer Ellen Sander and invite her to discuss her classic 1973 book Trips: Rock Life in the Sixties, reissued in an "augmented" edition in 2019. Ellen recalls her New York upbringing and initiation into the folk scene in Greenwich Village, then explains how Danny Fields (episode 28) steered her towards writing for Sing Out! and Hullabaloo. With references to David Crosby, David Geffen, Abbie Hoffman and the Monterey Pop festival, she talks about the inextricable relationship between '60s music and the decade's political upheavals. We also hear about her 1968 article on groupies; her troubling experiences on the road with Led Zeppelin; and her relationship with Elektra Records founder Jac Holzman (father of her son Marin), all of which led to the writing of Trips. Attention then turns to two clips from the week's new audio interview, in which suave Yorkshire-born rock'n'soul man Robert Palmer talks about his love of bossa nova and the fun he had on the sessions for 1974's Sneakin' Sally through the Alley with Little Feat's Lowell George. After Mark quotes from new library interviews with the Beatles (1963), B.B. King (1968), and Simpsons creator Matt Groening (1993), Barney cites an early Steely Dan piece from 1973 and Jasper recommends articles about emo stars Paramore (2010), Nine Inch Nails' Trent Reznor (2014) and – from 2016 – jazz hybridiser Jacob Collier.

On this SPECIAL EDITION of The Movie Podcast, Daniel and Shahbaz are joined by Gary and His Demons Creator and Comedian Mark Little and Season 2 Director Josh O'Keefe. Mark is also an actor, writer, and producer. He is best known for his appearances on the CBC sitcom Mr. D, his work with Picnicface, and voicing Gary in Gary and His Demons. Josh is a Director and Art Director at Look Mom Productions. He is also the creator of ‘Doomlands', a beer-soaked, high-octane cartoon on The Roku Channel. Gary and His Demons Season 1 and 2 are now streaming on Prime Video.Get 20% OFF MANSCAPED + Free Shipping with promo code MOVIEPOD at MANSCAPED.comWatch and listen to The Movie Podcast interview now on all podcast feeds, YouTube, and TheMoviePodcast.caContact: hello@themoviepodcast.caTHE MOVIE PODCAST ON ET CANADA!THE MOVIE PODCAST MERCHANDISE NOW AVAILABLE!FOLLOW USDaniel on Twitter, Instagram, and LetterboxdShahbaz on Twitter, Instagram, and LetterboxdAnthony on Twitter, Instagram, and LetterboxdThe Movie Podcast on Twitter, Instagram, TikTok, Discord, and YouTube

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

Nicki Bluhm joins me on the show this week. I first heard her recent record “Avondale Drive” about 6 months ago and was blown away. She jas an incredible voice and writes really interesting tunes that draw from blues, soul, country and pop music. Nicki has made some killer records aside from Avondale Drive, and also had a really cool band called The Gramblers, which she fronted with her ex-husband and Mother Hips member Tim Bluhm that have a couple releases as well. Nicki is originally from the Bay Area and while she lives in Nashville now, she stays rooted in that scene with regular appearances with Phil Lesh and Friends as well as Little Feat, with whom she has been on tour recently as a featured guest and backup singer. She's also out touring with her band, and as a duo with her new partner Jesse Wilson, who she made Avondale Drive with during the pandemic. Keep posted with Nicki and all of her upcoming shows and new releases at www.nickibluhm.comListen to the accompanying playlist for this episode here, which features the artist's own music, plus many of the songs that were discussed during the show.This episode is brought to you by Izotope - check out their amazing recording software at: www.izotope.comThanks for your support, and your fearless host, Steve Dawson can be found at: www.stevedawson.ca

Such a fun way to kick off 2023! This outing isn't meant to settle all of those lunch room fights over this topic in the actual 1970s, it's just Markus and Ray sharing their faves from a very influential time in both of their musical lives.It's the podcast that acts like a game show whenever they do an episode of Five Favorites! Feel free to post yours on our social media, or email them to us at: imbalancedhistory@gmail.com! We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/  

Hoy os dejamos el nuevo logo de La Gran Travesía, diseño de nuestro amigo Ángel Rodríguez. Hoy en el programa podréis escuchar a Black Stone Cherry, Little Feat, Lynyrd Skynyrd, The Answer, Patti Smith, Lucifer, Compulsive Gamblers, Undertones...y muchos más Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. ¿Quieres anunciarte en La Gran Travesía? Puedes hacerlo a través del siguiente enlace https://advoices.com/la-gran-travesia Muchas gracias a todos los mecenas y patrocinadores por vuestro apoyo: Enfermerator, Joaquín, Hernan de Soto, Sergio Castillo, Millo, Rafael Castro, Horns UP! Lourdes Pilar, Jose Diego, Dora, Miguel Angel Torres, Dani, Suibne, Jesús Miguel, Leticia, Sementalex, Guillermo Gutierrez, Zimmy, Enrique FG, Aida, Mati, Elliot SF, Redneckman, Daniel A, Raul Andrés, Luis Miguel Crespo, Gonzalo Fernández, Vlado 74, Toni Sureda, Alvaro Pérez, Marcos París, Angel Hernandez, Edgar Cuevas, Okabe 16, Victor Vosgos, Jit, Karlos Martinez, Daropa, Vicente DC, Francisco González, María Arán, javifer27, juancalero62, Eulogiko, Fonune, Juan Carlos González, Víctor Bravo, Edgar Xavier Sandoval Morales… y a los mecenas anónimos. Muchas gracias!!

Host Jodie Sweetin is joined by Amy McCarthy, Director of Social Work for the Adolescent Substance Use and Addiction Program (ASAP) at Boston Children's Hospital; Bob Sabouni Executive Producer of Awkward Conversations and actor and directorJake Busey.  Someday your child will ask you if you used drugs. What will you say when that question comes your way? Does genetics play a part in the predisposition to drug abuse? Today our panel discusses these questions and more on Awkward Conversations. Don't miss this episode.    IN THIS EPISODE: [00:00] Season One clip of conversation between parents deciding how much to tell their children about their drug experimentation.   [02:21] Clinical findings on the effect a parent's past drug use has on a child [03:33] Programs designed for the family or friend of an abuser and accepting the fact that addiction is a medical condition [10:12] The struggle of what to say to your child [16:26] Being honest with your child without laying out details [19:45] Bottom line advice KEY TAKEAWAYS: The drugs available today are far different than those 15 or 20 years ago.  They were  terrible for you and detrimental to your health.  Today the drugs on the streets can kill you. Parents don't have all the answers.  It is ok to tell your child that you will research their question when you don't know the answer.  Then do the research and understand why drug use is detrimental so you can give your child reasons. One pill can kill! It doesn't matter whether a parent did or didn't do drugs.  The pills today can kill. A child can make better choices when he has truthful information.   ***DISCLAIMER***The views, information, or opinions expressed during the Awkward Conversation series are solely those of the individuals, speakers, commentators, experts, and or hosts involved and do not necessarily reflect nor represent those of the production, associates or broadcaster, or any of its employees. Production is not responsible and does not verify for accuracy any of the information contained in the series available for viewing. The primary purpose of this series is to educate and inform. This series does not constitute medical or other professional advice or services. This series is available for private, non-commercial use only. The production, broadcaster, or its channel cannot be held accountable for all or any views expressed during this program. Resources: SAMHSA Find Treatment   Emoji Decoder  DEA Takeback Website Growing Up Drug-Free: A Parent's Guide to Substance Use Prevention One Pill Could Kill Never Thought I'd Say This Podcast with Jodie Sweetin Team Upstandards with Trevor Donovan Get Smart About Drugs Website Elks Kid Zone Website Elks Drug Awareness Program Website Elks DAP on Twitter Elks DAP on Facebook Elks DAP on YouTube DEA Website DEA on Instagram DEA on Twitter DEA on Facebook DEA YouTube Channel     Watch Awkward Conversations Season 1 the series: Awkward Breakfast Conversations - Ep. 1 Awkward Lunch Conversations - Ep. 2 Awkward Dinner Conversations - Ep. 3      Bios:   Jodie Sweetin is an American actress and television personality known for her role as Stephanie Tanner in the ABC comedy series Full House and its Netflix sequel series Fuller House. Jodie is joined by Content Expert Amy McCarthy, a Senior Clinical Social Worker at Boston Children's Hospital. Amy McCarthy, LICSW, is the Director of Social Work for the Adolescent Substance Use and Addiction Program (ASAP) at Boston Children's Hospital, where she provides direct clinical and programmatic support. Additionally, Amy has extensive experience working in community-based settings providing care to young people with complex mental health needs and their families. As the former director of the Boston-Suffolk County Family Resource Center, she worked with an abundance of community partners to ensure residents had access to vital resources to meet basic needs and beyond. Amy received her Bachelor's Degree in Social Work (BSW) from Siena College and earned a Master's Degree in Social Work (MSW) from Wheelock College Jake Busey spent his childhood in sunny southern California, as well as a plethora of film sets around the country. His childhood was similar to a "military brat", a series of strung-together extended-stay location shoots, alternating with tours on the road with his father's various bands and associates. In a world of gypsies & artists, spending many years on tour buses and side-stage-studying such acts as Willie Nelson, Leon Russell, Little Feat, the Band, and Fleetwood Mac, Jake found his passion for music and performing live. Busey entered the industry at the age of 5 in his first motion picture, Dustin Hoffman's opus, "Straight Time" (1977), playing Son to his father and Cathy Bates. After finishing high school at Crossroads School and college in Santa Barbara, Jake returned to L.A to study the craft of acting for film seriously. He started auditioning at 20yrs old and booked his first role in a PBS film, "Shimmer," shot on location in Iowa. Slowly but surely, bit parts playing supporting characters in independent films would follow. After a few years of hard work and little returns, He was Cast as the villain in Showtimes "rebel highway series" Motorcycle Gang by Director John Milius. The film was part of an eight-film series and drew great attention amongst the "up and coming actor" buzz of Hollywood. He made his true debut on the big screen in 1994 alongside Stephen Dorff and Reese Witherspoon in the grind house grunge film "SFW," but that Buzz caught the eye of Robert Zemekis & Peter Jackson, which led jake to star opposite Michael J. Fox in the Frighteners. .soon after wrapping, big changes came from a 3-page monologue about religion vs. science when he landed "Contact" with Jodi Foster and Matthew McConnaghey. Then "Enemy of the State", then Vince Gilligan scribed "Home Fries," and most memorably as the smart-mouthed Private Ace Levy in the Sci-Fi cult classic "Starship Troopers." Jake was a force to be reckoned with in the late 1990s A-list film market. Then in the early 21st century, after the great success of "Identity," Jake took some risks with projects, and leaps of faith, stepping up into starring roles in such studio disasters as "Tomcats" and "the First 20 Million is always the hardest", Films hyped to glory among the Hollywood machine, which failed miserably, and left him needing to reassess his position. It was time for a break. Some time away was needed.   After a few-year hiatus from acting as he pursued directing films, "road-tripping" the country, and playing in his band around Hollywood, he was ready for his come-back. Jake blasted onscreen as a pyrotechnic specialist in the final season of FX's hit series "Justified", leaving many an audience member aghast, having thought he was a solid new addition to the show...alas, just a masterfully crafted cameo, blowing up in 30 seconds. When Robert Rodriguez cast him as the new Sex Machine for all three seasons of "From Dusk Till Dawn, Things started heating up again. In The History Channel mini-series "Texas Rising," Busey plays Samuel Wallace, the man credited with reciting the legendary warning, "Remember the Alamo!" directed by Roland Joffe.   His recent projects include "Mr. Robot", and Stranger Things", Showtime's "Ray Donovan," CBS television's "NCIS" Episode 346(1516), ABC's "Marvels agents of S.H.E.I.L.D.., Episode 513 & 519, and in the summer of 2018, he made his return to the summer tent-pole event scene with 20th Century Fox's "the_Predator".   A bit of a modern-day Renaissance man, Jake's passions in life includes fatherhood, acting, desert racing, architecture, playing music, flying planes when necessary, and fabricating anything mechanical in his metal shop.  

Happy Holidays from The Takin A Walk Podcast-Music History on Foot with a music sampler from our past year. Highlights include Jorma Kaukonen from Jefferson Airplane, Bill Payne from Little Feat and more.   

Featuring a fresh joint from BK super wonder kids mmeadows; the latest single from Victoria Reed's upcoming LP; music from the mind of longtime NYC area artist Matt Trowbridge; mesmerizing vibraphone work courtesy of Will Shore and Pique-nique Recordings; the NOLA piano ensemble stylings of Extended Trio; a saxophonist with a sound worthy of the ages on the ECM label, Mark Turner; the queen Ella Fitzgerald live at the Hollywood Bowl; and finally, The Black Crowes take a dip into the world of Little Feat.

In which we boldly tackle the burning issues des nos jours in our restless forage for entertainment. Nutritious items on the tasting menu this week include … … albums whose cover was over half the sell. … was Jet Black older than all the Beatles and Stones? Dave Greenfield and Edgar Allan Poe – separated at birth. … that brief moment when Creedence Clearwater were the biggest thing on the planet. … what people paid for the wooden balls on the Rumours cover and one of Christine McVie's dresses.  … Stackwaddy: Abba v Zappa song titles - spot the ringer! … a Marshall Crenshaw 40th anniversary covers album? The race to find the next bizarre obscurity. … Little Feat, Fragonard and a cake on a swing.   … plus Anthony Blunt, Elton John will never retire and new Patreon supporters (and their fictional jobs).Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In which we boldly tackle the burning issues des nos jours in our restless forage for entertainment. Nutritious items on the tasting menu this week include … … albums whose cover was over half the sell. … was Jet Black older than all the Beatles and Stones? Dave Greenfield and Edgar Allan Poe – separated at birth. … that brief moment when Creedence Clearwater were the biggest thing on the planet. … what people paid for the wooden balls on the Rumours cover and one of Christine McVie's dresses.  … Stackwaddy: Abba v Zappa song titles - spot the ringer! … a Marshall Crenshaw 40th anniversary covers album? The race to find the next bizarre obscurity. … Little Feat, Fragonard and a cake on a swing.   … plus Anthony Blunt, Elton John will never retire and new Patreon supporters (and their fictional jobs).Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Sandy Kaye brings us news about The Seekers, Humble Pie, and Donovan, and a live stream from Little Feat. Sandy reviews Harry & Megan, Blazing Saddles, Avarice, and Madonna's reissue of S.E.X Sandy talks about Geof Cox's lates project "Coxy's Backtrack"See omnystudio.com/listener for privacy information.

Even after over four decades-long career, English songwriter and working class provocateur Billy Bragg still stands as one of the most influential artists of the era of U.K. punk. Hear how songs by Smokey Robinson, Little Feat, and The Who have played significant roles in his life. Essential Tremors is produced by Matt Byars and Lee Gardner and distributed by Your Public Studios.See omnystudio.com/listener for privacy information.

Multi-instrumentalist and member of Little Feat talks about going to Birdland when he was ten years old and enhancing the sessions of Glen Campbell, Jimmy Webb and Dennis Wilson with his unique guitar licks.

John Hall and his band Orleans had big hits with “Dance With Me”and “Still The One”. He's co-written or recorded songs with a host of artists including Janis Joplin and Chaka Khan. And he's toured or recorded with Jackson Browne, Bonnie Raitt and Little Feat. He also served in the U.S. Congress!My featured song is “Spring Dance” from the album of the same name by my band, Project Grand Slam. Spotify link here.“Dream With Robert Miller”. Click here.---------------------------------------------If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here.John and I discuss:Janis JoplinJohn Simon / Seals and Crofts / Taj MahalOpening for Santana in EuropeMontreux Jazz Festival Formation of Orleans“Still The One”“Dance With Me”Jackson Browne“Here Come Those Tears Again”Solo albums and tours “Live At SteelStacks” is the new 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. Elliott Randall, of Steely Dan fame, the guitarist who recorded the unforgettable solos in ‘Reelin' In The Years', calls Live At SteelStacks “Captivating!”. Tony Carey, the incredible multi-talented artist who has produced Joe Cocker, Eric Burden and John Mayall, says “PGS burns down the house!”. Alan Hewitt of the Moody Blues says “Full of life!” Melody Maker says simply “Virtuoso musicians!”, and Hollywood Digest says “Such a great band!”. “Live At SteelStacks” can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.“All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.“The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with John at:www.johnhallmusic.com Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail

On today's show, Arkansans reckon with extreme violence against members of the LGBTQ community. Arkansas state senator Joyce Elliot launches Get Loud Arkansas! as her 20-year career in the state legislature ends. Plus, the Northwest Arkansas Food Bank experiences more demand and the rock band Little Feat returns to the state.

 This week on  #ForWhatItsWorthwithBlakeMelnick an episode of #TheSpaceinBetween  called #LittleFeatAG.As our listeners know, we've been doing a fairly deep dive into the music of Little Feat. I had a great interview with Mr. Bill Payne, co-founder and pianist for the band, and during that interview we  discussed the need to encourage new listeners to Little Feat. What came out of the interviews, both with Bill and with some of the fans on the street before their show in Seattle this past summer was Little Feat fans are a little bit stuck in the past.For many hardcore Little Feat fans, the band essentially ended with the death of Lowell George in 1979. And yet the band has continued to evolve and progress and introduce new musical stylings along with a range of new vocalists following the death of Lowell George over 40 years ago. In this episode we're going to take you on a interactive musical journey into the music of Little Feat A.G.  We've created a public Spotify playlist with all the songs that we discuss in this episode. In the show information  we've put chapter markers for each of the records  we discuss. If you want to listen to part of the episode and then listen to a couple of songs from a particular record and then flip back again and listen to the interview, you can use the markers for each record in the show notes and get right back to where you left off.Two of the records we talk about, "Shake Me Up" and "Kick'n it at the Barn" are currently unavailable on Spotify, but we are working on another way to let you here them. Once we've got that altogether we will update the show notes, the show blog and our FB Group page with the links, so make sure you check back in a few days.Note: Not all listening channels allow for "chapters" but for sure our podcast site https://fwiw.buzzsprout.com does, as does Apple PodcastsLink to the Episode Spotify PlaylistMissing LinksLinks to songs we discussed that are not available on Spotify Bill's River Blues on Kick'n it at the BarnStomp on Kick'n it at the Barn Shake Me UpClownin'Boom Box CarLink to Blog postClick HERE to purchase a signed copy of Moments in Time by Tom LockeAnd if you like the show, please share it out , and consider making a small donation to the cause by buying us a coffee, using the Support the Show Support the showreview us on Podchaser Show website - https://fwiw.buzzsprout.comFollow us on:Show Blog Face Book Instagram: Support usEmail us: fwiw.thepodcast@gmail.com

On this Will Kimbrough Interview: Will talks about growing up in Mobile, Alabama and its impact on him, personally and musically… working with Jimmy Buffet, Todd Snider, Steve Earle, Emmylou Harris, Mavis Staples (and the lesson she taught him)... great advice on recording and songwriting, taking care of his father and more. Great stories from a great songwriter: Cool Guitar & Music T-Shirts, ELG Merch!: http://www.GuitarMerch.com A multi-instrumentalist sideman who's also released 9 solo LPs, Will has written, toured, recorded with, or produced Rodney Crowell, Shemekia Copeland, Todd Snider, Steve Poltz, Kim Richey, Garrison Starr, Josh Rouse, Matthew Ryan, Jimmy Buffet, Little Feat, Todd Snider, Emmylou Harris, Steve Earle, Mavis Staples & others   Subscribe & Website:  https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support

Give us about ten minutes a day, and we will give you all the local news, local sports, local weather, and local events you can handle.   SPONSORS: Many thanks to our sponsors... Solar Energy Services because solar should be in your future! Alpha Engineering and- Scout & Molly's! Today... So, who won? Still waiting. Little Feat is coming to town, and Rams Head Presents has tickets on sale this Friday. Maryland Hall has some pretty cool shows coming up. I'd love to see you all at the Leadership Anne Arundel food drive on Saturday to benefit the Anne Arundel County Food Bank. A weird email told me the luckiest names for babies. And we have a series of holiday-themed bonus pods coming your way next week. But the Local Business Spotlight this weekend is Chef Big Money and his pies, and next week it is Life Time which is just about open! Back with her weekly Annapolis After Dark is BeeprBuzz. She'll keep you up to speed on all of the fantastic live music we have in the area! And as usual, George from DCMDVA Weather is here with your local weather forecast! Please download their APP so you can keep on top of the local weather scene! The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing impaired subscribers, a full transcript is available on Eye On Annapolis  

Welcome to this week's episode of #ForWhatItsWorthwithBlakeMelnick, part 2 of my interview, #StraightfromtheHeart with my guest, the great #BillPayne from #LittleFeet. In part one, Bill and I discussed the recent tour, his early musical influences, the renewed power of music in our tumultuous times, and his short lived career as a drummerIn this episode, Bill and I pick up from where we left off and do a deep dive into the art and craft of songwriting, the growth of the band, the joy of playing together, the importance of legacy as part of the evolution of the band, and what's next for #LittleFeet ...For What it's Worth.Link to Blog postClick HERE to purchase a signed copy of Moments in Time by Tom LockeAnd if you like the show, please share it out , and consider making a small donation to the cause by buying us a coffee, using the Support the Show link The intro music for this episode, "Bible Thumping Sundays"  is written and performed by our current artist in residence, @DouglasCameron. You can find out more about Douglas by visiting our show blog and by listening to our episode, #TheOldGuitarMusic following the show break and concluding the episode is by #LittleFeat recorded live at the historic #MooreTheatre in Seattle Washington.A special thanks to @DennisMcNally and @BillPayne for their generosity of spirit and time without which this episode, and the ones that follow, would not have been possible ...Hanging on to the Good Times! - Thank you Amigos!Knowledge Management Institute of Canada From those who know to those who need to knowBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showreview us on Podchaser Show website - https://fwiw.buzzsprout.comFollow us on:Show Blog Face Book Instagram: Support usEmail us: fwiw.thepodcast@gmail.com

This week on #ForWhatitsWorthwithBlakeMelnick, part 1 of #Straightfromthe Heart, my interview with the great #BillPayne, keyboardist and co-founder of #LittleFeat. I spent a lot of time listening  to interviews given by Bill over the years ,  looking for a different angle, something that we could talk about that perhaps nobody has talked about before. One of the comments Bill made in one interview  was,  "We lost Lowell George, we lost Richie Hayward. We lost Paul Barrere - If we were to lose Bill Payne, Little Feat would still survive"So that begs the metaphysical question,  what is or who is Little Feat? If it's not the people in the band, what is it? ... this became the focus of my conversation with Bill Payne ...For What it's WorthLink to Blog postClick HERE to purchase a signed copy of Moments in Time by Tom LockeAnd if you like the show, please share it out , and consider making a small donation to the cause by buying us a coffee, using the Support the Show link The intro music for this episode, "How Come I Gotta""  is written and performed by our current artist in residence, @DouglasCameron. You can find out more about Douglas by visiting our show blog and by listening to our episode, #TheOldGuitarMusic following the show break and concluding the episode is by #LittleFeat recorded live at the historic #MooreTheatre in Seattle Washington.A special thanks to @DennisMcNally and @BillPayne for their generosity of spirit and time, without which this episode, and the ones that follow, would not have been possible ...Hanging on to the Good Times! - Thank you Amigos!Knowledge Management Institute of Canada From those who know to those who need to knowBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showreview us on Podchaser Show website - https://fwiw.buzzsprout.comFollow us on:Show Blog Face Book Instagram: Support usEmail us: fwiw.thepodcast@gmail.com

We're Back! Welcome to season 4 of #ForWhatitsWorthwithBlakeMelnick and #TheSpaceinBetween. We have a great season in store for you and we're kicking it off where we left off at the end of season 3 - our multipart episode featuring #LittleFeat and their 45th anniversary tour of #WaitingforColumbus.In this episode we also celebrate the accomplishments of our past guests on the show, @Heather Gemmell, @BenHunter, @BlairPackham, @DouglasCameron and @TomCarey.My old co-host of #TheSpaceinBetween @CameronBrown will be returning this season and we're really excited to have him back in the line-up.So kick back and enjoy the premier episode, Season Trailer and #NightontheTown with #LittleFeat ...ForWhatitsWorthClick HERE to purchase a signed copy of Moments in Time by Tom LockeAnd if you like the show, please share it out , and consider making a small donation to the cause by buying us a coffee, using the Support the Show link The music for this episode, "Doctor"  is written and performed by our current artist in residence, @DouglasCameron. You can find out more about Douglas by visiting our show blog and by listening to our episode, #TheOldGuitarMusic following the show break and concluding the episode is by #LittleFeat recorded live at the historic #MooreTheatre in Seattle Washington.A special thanks to @DennisMcNally and @BillPayne for their generosity of spirit and time, without which this episode, and the ones that follow, would not have been possible ...Hanging on to the Good Times! - Thank you Amigos!Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showreview us on Podchaser Show website - https://fwiw.buzzsprout.comFollow us on:Show Blog Face Book Instagram: ...

Featured Songs: 00:38 - Little Feat - 07-29-22 - Dixie Chicken - Fiddler's Green Amphitheatre - Greenwood Village, CO  11:58 - Daniel Donato - 09-14-22 - Southbound - Outland Ballroom - Springfield, MO 21:53 - Eggy - 10-08-22 - Spanish Moon - Asheville Music Hall - Asheville, NC 34:21- Greensky Bluegrass - 10-10-22 - Courage For The Road - Levitate Flannel Jam - Nantucket, MA   45:18 - Goose - 10-13-22 - The Way It Is - JJ's Live - Fayetteville, AK See omnystudio.com/listener for privacy information.

A couple of newbies that might have missed the mark, for me anyway. But there's comfort and familarity with Linda, Neil & Steve. Skynyrd,as you do. And because they're name-checked on the amazing new Avantdale Bowling Club album, there's some Little Feat cos as much as you want to you can't really play Jazz infused hip hop on a country show. Well I could but the fundamentalists would have kittens.That wicked bluegrass cover of Straight To Hell is there though and brand new Drive By Truckers, Lyall Lovett and new friend Langhorne Slim and a ton more.

This Morning, we play OTF for prizes, we talk about some wild animals that have came into our home, Jim Kelly joins us for the Jim Kelly Show, and Little Feat's Scott Sharrard joins us! See omnystudio.com/listener for privacy information.

Quick one today – we’re babysitting and will be heading out to pick apples and have fun at a local farm/orchard. Hope everyone’s had a good weekend. Today’s podcast includes Little Feat, Jesse Ed Davis, Bob Dylan, the Byrds, the Delgados, Steve Wynn, the Primitives, La Sera, Murray Head, Paul McCartney, Elvis Costello, John Lennon, … Continue reading "Owen Day"

Bill Payne of Little Feat in conversation with Rita Ryan of LocalMotion on 91.3 WVKR 8.31.22

Our Tourism Tuesday conversation today with Dave Van Devender from Shepherd's Ford Productions gave us all the details for the 18th Annual Watermelon Pickers' Fest happening September 15-17, 2022 at Clarke County Fairgrounds. Watermelon Pickers Fest is a family-friendly music festival created by Shepherds Ford Productions that is located just outside of Berryville, VA. Festivities include Concerts, Dances, Workshops, Band & Pickin' Contests, Kid's Activities, Open Jams, Food & Craft Vendors, and more! The 2022 Little Feat tour will come thru Berryville to headline the festival on Saturday night with three original members (Bill Payne, Sam Clayton, and Kenny Gradney) from the Waiting for Columbus album. For a full schedule of performances & activities, and to purchase tickets, visit their website: https://watermelonpickersfest.com/ and follow them on Facebook.

Little Feat's Bill Payne joins Matt and Jeff to discuss the band's legendary live album, which has recently been expanded into a super deluxe box set. He also details new music that the band is currently working on, plus stories about the group's legendary past, writing with Charlie Starr of Blackberry Smoke, his memories of legendary Warner Brothers record man Mo Ostin and lots more!If you enjoy episodes like this one, please consider joining our Record Club on Patreon and take a moment to rate and review our podcast! We appreciate your support as always!Follow us and share your thoughts on the program via our Twitter!

Esta semana suenan en Islas de Robinson: J.J. CALE - "THE OLD MAN AND ME" ("OKIE", 1974) / LEON RUSSELL - "CAN'T GET OVER LOSING YOU" ("WILL'O THE WISP", 1975) / JESSE ED DAVIS - "WHERE AM I NOW (WHEN I NEED ME)" ("KEEP ME COMIN'", 1973) / THOMAS JEFFERSON KAYE - "THE DOOR IS STILL OPEN" ("THOMAS JEFFERSON KAYE", 1973) / GENE CLARK - "THE TRUE ONE" ("NO OTHER", 1974) / WAYNE BERRY - "ALL I NEED" ("HOME AT LAST", 1974) / LITTLE FEAT - "JULIETTE" ("DIXIE CHICKEN", 1973) / CAROLE KING - "HAYWOOD" ("FANTASY", 1973) / KEITH WEST - "KNOW THERE'S NO LIVIN' WITHOUT YOU" (SINGLE CARA B, 1974) / EMMITT RHODES - "WARM SELF SACRIFICE" ("FAREWELL TO PARADISE", 1973) / BRINSLEY SCHWARZ - "I WON'T MAKE IT WITHOUT YOU" ("PLEASE, DON'T EVER CHANGE", 1974) / JESSE COLIN YOUNG - "COUNTRY HOME" ("SONG FOR JULI", 1973) / CHRIS DARROW - "TAKE GOOD CARE OF YOURSELF" ("CHRIS DARROW", 1973) / Escuchar audio

Episode 219: This time I catch up with two dynamic women from Nashville with albums that are journalistic in nature, chronicling change and life passages. Nicki Bluhm is a national jam roots star thanks to hear years leading The Gramblers and numerous collaborations with the likes of Phil Lesh and Little Feat. On her new Avondale Drive album she ruminates on the end of her marriage and building a new self in Nashville. Lera Lynn, a veteran of the show, returns with Something More Than Love, largely about the tradeoffs and blessings of being a new mother. They make a fine pairing of candid conversations. 

Pat starts off tonight show talking about last night's Little Feat show, meeting listeners at the show, parking with an app, "Uvulas and nipples": Tommy Lee's nude photo on Instagram fuels debate over platform's censorship double standard, a judge confirmed that Walgreens has contributed to the San Francisco opioid crisis and your calls...

Topics: Smith Street Pizza, trip to Rhode Island, Fox Farm Brewery, Little Narragansett Bay boat ride, illness in house, I Get Wild + Stuart Bogie at Littlefield 7/29/22, trip to Maine, Marlborough, MA hotel, Biddeford Mills Museum, Back Cove Trail, The Holy Donut, Crescent Beach, Kennebunkport, Old Orchard Beach, Palace Playland, Bissell Brothers Brewing, spreading ashes, Maine Beer Company, LL Bean, Scales, Tree House Brewing, Barker Character, Comic, and Cartoon Museum in Cheshire, CT, Modern Apizza in New Haven, Holy Diver by DIO, Logger Hero by Wu-Lu, From the New World by Alan Parsons, The Other Side of Make-Believe by Interpol, Earl's Closet: The Lost Archive of Earl McGrath 1970-1980, Birds in the Ceiling by John Moreland, Waiting For Columbus by Little Feat, Into the Groove by Mickey Hart/Planet Drum, Old-Time Folks by Lee Bains and the Glory Fires, Build by Tony Fadell, Smoke Gets In Your Eyes by Caitlin Doughty, The Nineties by Chuck Klosterman.

Pat takes your calls and gives away Little Feat tickets!

Pat takes your calls, plays a cover of Pink Floyd's ‘Don't Leave Me Now' song, racist stereotypes of ‘MonkeyPox', Happy Birthday to Tony Bennett, Thumpcase give-away question with Producer Kendall, Little Feat concert ticket give-away and more of your calls!

SUMMARY:Our guest on this episode is John Hall, founder of the band Orleans and co-writer of the group's enduring hits "Dance with Me" and "Still the One." He chats with us about how Janis Joplin launched his songwriting career, co-writing Steve Wariner's #1 country hit "You Can Dream of Me," and how he ended up serving two terms as a US Congressman before returning to music.PART ONE:Paul and Scott chat about Orleans' legendary "naked" album cover, and band/artist names you're afraid to say out loud. If you've ever stressed about how to say Husker Du, Bon Iver, Chvrches, or Bjork, we've got you!  PART TWO:Our in-depth interview with John HallABOUT JOHN HALL:John Hall is a musician, songwriter, community activist, founder of the band Orleans, and former US Congressman. After forming the group Kangaroo, which shared house band duties with Bruce Springsteen's group The Castilles at Greenwich Village's legendary Café Wha, Hall worked extensively as a sideman. He toured and/or recorded as a guitarist with Seals & Crofts, Taj Mahal, Bonnie Raitt, Little Feat, Carly Simon, Jackson Brown, and others, but established himself as a songwriter when he and then-wife Johanna penned “Half Moon” on Janis Joplin's Pearl album. After John formed the group Orleans, he and Johanna continued to find success as songwriters with the band's hit singles “Dance with Me” and “Still the One.” The following decade, John became a chart-topping country writer when he co-wrote Steve Wariner's #1 single “You Can Dream of Me.” He's known for co-founding the organization Musicians United for Safe Energy with Jackson Brown, Bonnie Raitt, and Graham Nash. John helped organize the legendary 1979 No Nukes concerts at Madison Square Garden, and his song “Power” became the anthem for the event. In 2006, John was elected to the US House of Representatives, representing New York's 19th District. After serving two terms, he returned to making music. John's songs have been covered by Millie Jackson, Chaka Kahn, Ricky Skaggs, Taj Mahal, Jackson Browne, Linda Ronstadt, James Taylor, Levon Helm, Bobby McFerrin, Bonnie Raitt, Chet Atkins, New Grass Revival, Jose Feliciano, Bill Anderson, The Oak Ridge Boys, P