Podcasts about The Louvin Brothers

Sintonía: "Opelousas Two Step" - Lawrence Walker"Allon Rock and Roll" - Lawrence Walker; "Two Step de Vieux Temps" - The Rambling Aces; "Boogie Woogie Tout Le Temps" - Franchie Martin & Eddie Shuler´s Reveliers; "Coming Home" - Jay Stutes and The All Sugar Bee´s; "Open The Door" - Adam Hebert and The Country Playboys; "North Side Door" - Adam Hebert and The Country Playboys; "Hound Dog Baby" - Cleveland Crochet and His Band Of Sugar Bee´s; "The Back Door" - Badeaux and The Louisiana Aces; "Sweet Thing" - Cleveland Crochet and His Band Of Sugar Bee´s; "Cajun Twist ´Le tortillage´" - The Cajun Trio; "Lemonade Song" y "Pine Grove Blues" - Nathan Abshire and His Pine Grove Boys; "Midnight Blues" - Jay Stutes & Cleveland Crochet Sugar Bee´sTodas las músicas extraídas de la recopilación (1xLP) "Cajun Stomps" (Beast Records, 2018)"There´s A Higher Power", "Are You Afraid To Die", "The River Of Jordan" y "I´m Ready To Go Home", extraídas del álbum "Satan Is Real" (Capitol Records, 1959/reeditado por Stetson en el 2023) de los estadounidenses The Louvin BrothersEscuchar audio

Con Adrián Quesada, Will Grove-White, Tommy Dorsey & His Orchestra, The Chimes, Ella Fitzgerald (Club Des Belugas Remix), Elbicho, los Juniors, Raphael, los Mitos, los Lobos, el Jarocho, los Estudiantes, las Cafeteras, Son Luna, the Louvin Brothers y Neil Diamond.

Today on another encore edition of the Rarified Heir Podcast, we are talking to Lisa Sutton, daughter of singer Lynn Anderson & music producer Glenn Sutton. Lisa grew up in Nashville, home to her parents and their ‘Countrypolitan sound'  they helped make famous. What's countrypolitan you ask? Good question. It's definitely country music but typically with lush string arrangements, an orchestra and a more stylized sound than what country music is known for prior. It's a sound her Nashville Songwriter Hall of Fame father and her mother Lynn made famous with the massive Joe South penned hit  “I Never Promised You a Rose Garden.” We also talk to Lisa about her perhaps lesser known but perhaps more influential grandparents Casey Anderson and Liz Anderson whose roots in country music as songwriters, performers and connectors led them to a fortuitus meeting with the poet of the common man, Merle Haggard. He gave them their start. Of course we talk roses – it's a theme in Lisa's life that connects back to her mom's massive hit, horses, the National Enquirer and how her father's songs were recorded by everyone from The Louvin Brothers to Etta James. Fans of country music rejoice, we have a winner on this episode of the Rarified Heir Podcast with Lisa Sutten. Take a listen.

There are a handful of common story threads that run through classic country songs. I'm not talking about trucks, beer the ‘merica that seems to have overwhelmed modern so-called country with autotune and synth pop. The heartbreak of cheating situations that were among the most common storylines in the Golden Age of country at a time when family unity was of paramount importance. It was country music's frank portrayal of infidelity that offered a counterpoint which was both relatable and controversial. Cheating songs became a central theme, reflecting the complexities and emotional intensity of love, betrayal, and heartbreak. Dave will share as many as will fit in two hours in this week's episode with early tearjerkers from Kitty Wells, The Louvin Brothers, Billy Walker, Bonnie Owens and George Jones. There will also be the very best of the classics from Charley Pride, Dolly Parton, and Loretta Lynn to take us into the 70s and beyond. . .

Returning guest, filmmaker Alan Zweig (Vinyl, When Jews Were Funny), brings us Will Oldham - a.k.a. Palace Brothers, Bonnie 'Prince' Billy...etc) and his stunning debut: 'There Is No-One What Will Take Care of You'First released in 1993 under a cloud of mystery, Oldham's dark tales of sin, lust, alcohol, and redemption made for rousing conversation - as we name-checked The Louvin Brothers, The Velvet Underground and many others along the way. Songs discussed in this episode: Oh Lord Are You In Need - Glen Dentinger, Joe Manning and Rachel Grimes; Breadcrumb Trail - Slint; O Let It Be - Will Oldham; I See A Darkness - Johnny Cash; The House Carpenter - The Doc Watson Family; A Little Soldier For Jesus - Ralph Stanley & Friends; Idle Hands are the Devil's Playthings - Palace Brothers; The River Of Jordan - The Louvin Brothers; Long Before, I Tried To Stay Healthy For You, The Cellar Song, (I Was Drunk At The) Pulpit - Palace Brothers; Ocean - The Velvet Underground; There Is No One What Will Take Care Of You, O Lord Are You In Need, Merida - Palace Brothers; Walking On Sunshine - Katrina & The Waves; King Me - Palace Brothers; Single Girl, Married Girl - The Carter Family;  I Had A Good Mother and Father, Riding, O Paul - Palace Brothers; O Paul - Bonnie 'Prince' Billy with Natalie Bajandas

This episode contains: Steven, Devon and Ben are all raring to go this episode. Steven talks about a power and internet outtage that almost kept our dear listeners from hearing his sweet, sweet voice. We end up chatting about house batteries, electric vehicles, generators, and how power flows through a power grid. Steven was also able to con his wife into playing Arcs, and she had some valid opinions. Ben says, "There are no good hands in Arcs" and he's not wrong. Ben's mom visited him for a few days (Hi Martha!) and he played tourist. They watched The Goonies in the theater, visited Hearst Castle and watched Twister. Devon was Devon, this whole time.    Future or Now I can pay ten bucks to see Kevin Costner drink his own urine? Where do I sign up?: Scientists built real-life "stillsuit" to recycle astronaut urine on space walks. We talk about what astronauts do now on space walks, and to what extent this "stillsuit" will be helpful. Steven goes on a tangent about smells and coffee and drinking filtered urine.  https://arstechnica.com/science/2024/07/scientists-built-real-life-stillsuit-to-recycle-astronaut-urine-on-space-walks/  Devon's TV corner: Devon gives us a mini-review on the 4th season of The Boys. He talks about the "controversy" of the show thinly veiled attacked on the right, and how Vought = Fox News. It's silly that people didn't realize that The Boys has always been satire. Devon also watched the second season of Star Trek: Prodigy and he and Ben have thoughtful discussions about characters that Steven doesn't know. They focus on Chakotay and Robert Beltran. Steven tags onto Devon's tv reviews to give a micro-review on The Acolyte which we'll dive into more on a future episode.    Book Club Next Week: "Clap Back" by Nalo Hopkinson  https://www.amazon.com/gp/product/B098QNLW6D  This Week: "Where Oaken Hearts Do Gather" by Sarah Pinsker https://www.uncannymagazine.com/article/where-oaken-hearts-do-gather/  We have quite the discussion this week, mostly stemming from the format of this story. Ben had a strong reaction to the format (it disagrees with him). Steven enjoyed the mystery and parallel stories being told. Devon chimes in about folk song covers and references Metallica and Whiskey in the Jar and Mary of the Wild Moor by The Louvin Brothers. Ben is reminded of "Little Brother" by Corey Doctorow https://craphound.com/littlebrother/download/  In the future we may visit some horror short stories as requested by a listener (Thanks Tom!).

[originally published on Patreon Jun 13, 2022] Today I'm joined by Alex Tsakiris (@skeptiko) of Skeptiko for a wide-ranging discussion on a number of topics of mutual interest, including running a podcast and getting to talk to people, science, consciousness, MKULTRA, gifted kids, Whitley Strieber, Epstein, transhumanism, Mirage Men, and so forth. It was very fun. Links: https://skeptiko.com/ Song: Satan is Real by the Louvin Brothers

Í sendingini í dag spæla vit nakrar sangir við Louvin Brothers í sambandi við, at liðin eru 100 ár síðani eldri bróðurin, Ira Louvin, varð borin í heim. Men annars verður sendingin í stóran mun merkt av nýggju útgávuni "Nashville, Tennessee" hjá ERNEST.

Some folks are just a natural for this show. Nashville-based veteran singer/songwriter Tim Easton (https://www.timeaston.com/) certainly fits the bill. A renowned tunesmith, Easton has lived a quintessential troubadour life—busking in Europe and living in L.A., New York, and many places in between. Now calling Nashville home, Tim is back with a new album Find Your Way. Tim's solo work dates back to the late 90s, back when the major labels bet big that so-called alt.country or Americana would be the next thing. In this episode of For Songs Singles, Tim talks about how those big bets never paid off. We cover quite a bit here, but mostly we discuss the first single from the album, the ethereal title track Find Your Way. The song deals with a life-changing near-miss traffic incident, caused by Tim being a bit under the influence. Tim opens up about how the incident caused him to reevaluate his lifestyle. We also discuss his career and influences, and long-time listeners of this show will appreciate Tim's love of both the Clash and Johnny Cash, the Louvin Brothers and Elvis Costello. So sit back and enjoy as Tim Easton joins me for For Songs.

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

We revisit the country genre for some down home Christmas cooking…of sleigh bells, holly, ham, and mistletoe. Songs from mid-century to just a year ago or so featuring some of your favorite country and Americana artists in our final show before Christmas Day 2023.  Tune in for some classics and also-rans from Gene Autry, Eddy Arnold, Red Foley, The Louvin Brothers and John Prine as we share some roasted, toasted chestnuts from the yule log. We've also got some George Jones, Ernest Tubb and Willie Nelson right up alongside Kacey Musgraves and Raul Malo. We're saluting the season and telling stories from childhood's past, all for you wrapped up with pretty paper and holiday ribbons of gold on this year's Christmas show on community radio for Sonoma County, KOWS-LP, 92.5 FM, Occidental. Streaming your way across planet Earth on kowsfm.com. Now…let's say it once again…'war is over'.

It's the 124th installment of the Truth About Vintage Amps with Skip Simmons: Conductive paints, speaker impedance mismatches, pizza hacks and lots of dad jokes! Want to be a part of our show? Just email us a question or voice memo to podcast@fretboardjournal.com. Our sponsors are Emerald City Guitars, Amplified Parts, Stringjoy Strings, and Grez Guitars. Some of the topics discussed this week: :57 Skip works on a Jim Kelley Amp 6:30 Rancho Gordo beans, redux 7:49 Converting a SF Champ to the Princeton schematic and recommended plate voltages; Skip makes a tweed Harvard out of a Champ; pilot light washers from Daniel Petrzelka (Instagram: @dpetrzelka) 13:39 The 1970s Whole Earth Catalogs are now online (link) 15:21 What makes a great A/B box? 17:24 A '55 Tweed Bassman with a replaced output transformer and 7025s; Skip finishes the Tweed Deluxe overhaul 25:41 Impedance mismatches in 1950s Fender amps, using the external speaker output 31:26 Did David Lindley play on the Rockford Files theme song? Toots Thielemans 33:43 Eminence, Kentucky and Colonel Sanders 35:07 Can anything other than tubes be microphonic; the one-wire mod to have the reverb and tremolo on both channels on a Fender 37:12 Fuse-eating rectifier tubes on a Victoria Bandmaster clone; 5U4 vs GZ34 tubes 39:38 Converting a '50s Philco record player console for guitar use; Commander Cody; the Louvin Brothers' 'Satan Is Real' 43:26 Bringing up an old amp on a Variac  48:49 Experiments with conductive paints   52:36 Very loud noise floor in a low-wattage amp   56:21 A tube amp setup to compliment the Fender Tonemaster Pro   1:00:00 Biasing an old record player amp   1:05:22 Homemade pizza hacks, pizza stones, buying dough, Don Pepino, Rainier beer Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.  Love the show? We have a Patreon where you can support it and get exclusive bonus content and surprises:  https://www.patreon.com/vintageamps

Happy Halloween! For this year's Halloween episode, we explore some of our favorite covers of one of the creepiest songs of all time: "In the Pines" aka "Where Did You Sleep Last Night?""In The Pines" is one of the most-famous, most-covered, and most-open-ended murder ballads of all time. It's been made famous by the likes of Lead Belly and Nirvana, and covered by everyone from Loretta Lynn to Smog to Fantastic Negrito. Check out our "In The Pines" playlist here and let us know your favorite!Check out our Patreon!Check out our new merch store!Instagram: @TakeThisPodandShoveItFor everything else click HERE!Want to create your own great podcast? Why not start today! We use BuzzSprout for hosting and have loved it. So we suggest you give them a try as well! Buzzsprout gets your show listed in every major podcast platform, and makes understanding your podcast data a breeze. Follow this link to let Buzzsprout know we sent you—you'll get a $20 credit if you sign up for a paid plan, and it helps support our show.

You can't have good without the bad…or the Louvins without the Ira. Learn all about this kooky gospel cover and the Loudermilk brothers who made it out of the Appalachian mountains and gave us something spooky….blood harmonies, crappy record deals, demonic portraits, gunshots, scumbaggery,  a 16ft. Satan, explosions, “fits of faith”!Thanks for tuning in!This episode is sponsored by Distrokid. Check out distrokid.com/vip/designfreaks for a 30% discount! Follow the show: @_designfreakspodcast_Design Freaks on YouTubepatreon.com/DesignFreaksPodcastSubscribe wherever you get podcasts! linktr.ee/DesignFreaks~~Donate to help with recording costs Thank you!~~Theme music: "Jet in Jungle" by Damaged Bug, courtesy of John DwyerSOURCES:https://www.newyorker.com/books/page-turner/satan-is-real-the-gospel-darkness-of-the-louvin-brothershttps://en.wikipedia.org/wiki/Satan_Is_Realhttps://youtu.be/bffPVFZDhrQ?si=6Zj7ZT4VCO3QgyzGhttps://cocaineandrhinestones.com/louvin-brothers-running-wildSupport the show

It's a good day, because we get to talk about Satan. Okay, let's clarify that, actually. We're sitting down with singer-songwriter Brennen Leigh to discuss Satan is Real by the Louvin Brothers. Country music is full of fascinating corners and Satan is Real is no exception. You'll hear many artists cite the Louvin Brothers as an important inspiration and we dig into that topic with Brennen to get her own insights on that subject.We also talk about Brennen's latest album, Ain't Through Honky Tonkin' Yet (what a title!) and her plans for the fall -- among many other things. Sadly, her roosters nearby did not make a major ruckus. We were hoping for it.Our thanks to Brennen for spending time with us!If you dig these episodes, please consider supporting our Patreon. Join our Record Club to receive access to a ton of additional material and interviews. We appreciate your support!

The curtain opens for a Harbour Bazaar with Steven Hastings & Davey Hal choosing tracks with a theme of gods, monsters, mythology, heroes and the gaps in between! Featuring new music from My Life Story and news of a fantastic limited edition cassette compilation from Brighton based Crafting Room Records featuring Ship Full Of Bombs favourites Slimy Bench in aid of ‘Audio Active' – a charity that creating music programs for disadvantage youth. Plus, the problem with lanyards, Cornish dogs, the Bewley Brothers Tony & Ken, green men and plenty from John Grant, Comus, Kishi Bashi, Smoke Fairies, The Cult, The Louvin Brothers and much more! PLAYLIST The Witch – The Rattles I'm A God – My Life Story Pale Green Ghosts – John Grant Me & The Devil – Gil Scott-Heron I Am The Antichrist To You – Kishi Bashi Song To The Siren – This Mortal Coil Send The Boa Up - Slimy Bench The Cross – Prince Spiritwalker – The Cult Mermaids – I Am Kloot Plastic Jesus – Tia Blake Diablo Rojo – Roderigo & Gabriella Diana – Comus John Barleycorn (Must Die) – Traffic Devil In My Mind – Smoke Fairies Earth Angel – The Penguins The Great Atomic Power – The Louvin Brothers LINKS My Life Story – I'm A God from the forthcoming album World Citizen plus news, gigs and releases at https://mylifestory.band Brighton Compilation 2023 from Crafting Room Recordings and Limited Edition Black Cassette from https://craftingroomrecordings.bandcamp.com/album/brighton-compilation-2023  

Singles Going Around- Back To Mono Volume ThreeThis episode of the podcast is Volume 3 of Back To Mono! All selections from mono records, recorded and transferred in mono. Play Loud!The Monkees- "Theme From The Monkees" (COM-101)The Beach Boys- "California Girls" (T 2354)The Rolling Stones- "Can I Get A Witness" (LK 4605)Wilson Pickett- "In The Midnight Hour" (ATL 8129)The Beatles- "Drive My Car" (T 2553)The International Submarine Band- "Blue Eyes" (Sundazed 5530)The Byrds- "I'll Feel A Whole Lot Better" (CL 2372)The Louvin Brothers- "Satan Is Real" (LITA 073)13th Floor Elevators- "She Lives (In a Time Of Her Own) (Charly 112L)Chuck Berry- "Roll Over Beethoven" (Chess 5565)The Yardbirds- "Over Under Sideways" (LN 24246)Mitch Ryder & The Detroit Wheels- "Oo Papa Doo" (NV 2002)Pink Floyd- "Let There Be More Light" (PFRLP 29)Cream- "Sweet Wine" (ATCO 33-206)Booker T & The MG's- "Slim Jenkins Joint" (Stax 717)Dave Clark Five- "Do You Love Me" (LN 24185)Sonny & Cher- "The Letter" (ATCO 33 177)Solomon Burke- "Stupidity" (ATL 8085)The Monkees- "I'm Not Your Stepping Stone" (COM 102)The Beatles- "You Can't Do That" (T 2080)The Rolling Stones- "Let's Spend The Night Together" (LL 3499)*All selections from records listed.

Blue Mountain "Soul Sister"Ike & Tina Turner "River Deep Mountain High"John Hammond "I Want You to Love Me"Albert King "Answer to the Laundromat Blues"Margo Price "Ragged Old Truck"Dr. John "Zu Zu Man"Mamie Perry And The Gus Jenkins Orchestra "Lament"Bob Dylan "Most of the Time"Ry Cooder "It's All Over Now"Betty LaVette "Let Me down Easy"Charles Mingus "Better Get Hit In Yo' Soul"Grateful Dead "In the Midnight Hour"Townes Van Zandt "Mr. Mudd and Mr. Gold"Willie Nelson & Wynton Marsalis "Ain't Nobody's Business"Porter Wagoner "Satan's River"Eilen Jewell "Queen Of The Minor Key"Old 97's "Good With God"The Louvin Brothers "Knoxville Girl"OutKast "Elevators (Me & You)"Amaro Freitas "Trupé"Staple Singers "What's Your Thing"Tina Turner "Hard Times"Charlie Parr "Funeral Road Blues"Steve Earle "When I Fall"Bonnie Raitt "Sweet Forgiveness"Lightnin' Hopkins "Katie Mae Blues"Billy Joe Shaver "I Been to Georgia On a Fast Train"Aimee Mann "Goose Snow Cone"Joan Shelley "Sweet Dark-Haired Man"Doc & Merle Watson "Dig a Little Deeper in the Well"Peter Buck "Southerner"The B-52's "Private Idaho"Tom Waits "Long Way Home"Asie Payton "Skinny Legs & All"The Ronettes "I'm On the Wagon"Art Blakey & The Jazz Messengers "Evidence"Bob Dylan "She Belongs to Me"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"JD McPherson "Crying's Just A Thing That You Do"Bonnie "Prince" Billy "Sailor's Grave a Sea Of Sheep"

Matt and Drew discuss " The Great Atomic Power " by The Louvin Brothers. To listen to the full show, visit ForgottenCountryRadioShow.com.

Clint Mephisto's Shit Kickin’ Road Show Episode 274, week of March 27th. Sit a spell with your ol’ drankin’ buddy as we go on an hour long bender of vintage classics and modern barn burners from Clyde McGee, Lee Cole, The Cramps, The Louvin Brothers, The Quakes, and more!

On the eve of the Second World War, physicists learn of the possibility of splitting the atom. Two rival nuclear programs emerge and the race to the atomic bomb begins... Original music for this series by https://mountainstandardtime.substack.com/Additional music by Kali Malone, Benoît Pioulard, Zoe Keating, Nine Inch Nails, Choral Arts Northwest, and The Louvin Brothers.For the rest of the series and a limited edition Historium patch made specifically for this episode: patreon.com/historiumSupport the showwww.patreon.com/historium

Clint Mephisto's Shit Kickin Road Show Episode 267, week of February 6th. Your ol’ drankin’ buddy returnswith a Hellbilly Hootenanny, featuring vintage classics from Buddy Holly, Eddie Cochran, and The Louvin Brothers, alongside modern barn burners from The Cramps, Jesse Dayton, The Tremors and more!

The Louvin Brothers, Satanic Surfers & Chris Cornell

Get the story from behind the MUSICIANS, ARTISTS, and PRODUCERS who made some of the greatest albums of all time. This episode discusses The Louvin Brothers- A gospel/country/bluegrass duo of brothers who harmonized their way into the Country Music Hall of Fame. The brothers have one of the most iconic album covers of all time with Satan Is Real. We give a little background on their style, life, and some of the albums they created in their extraordinary career. Listen to the stories behind the music! --- Send in a voice message: https://anchor.fm/album4theday/message Support this podcast: https://anchor.fm/album4theday/support

Today on the Rarified Heir Podcast we are talking to country music royalty. We are talking to Lisa Sutton who's has not one but four musical legacies and estates to look after. Her mother, the great singer Lynn Anderson is best known for her iconic #1 hit, “Rose Garden” and released, count ‘em, 72 singles in her career. Lisa's father, was Nashville Songwriter Hall of Fame member Glenn Sutton who produced “Rose Garden” and wrote the Grammy winning David Huston hit “Almost Persuaded” as well as “What Made Milwaukee Famous (Made A Loser Out of Me)”, “Your Good Girls Gonna Go Bad” & countless other  songs. The architecht of Countrypolitan sound of the 60s, Glenn's songs were recorded by everyone from Etta James to The Louvin Brothers to Jerry Lee Lewis and Rod Stewart. What's more, Lisa's grandparents were Casey Anderson and Liz Anderson. Liz wrote many country music hits in the 50s and 60s including “Wife of the Party” and “Mama Spank” and it was Casey who invited an iconic soon-to-be country music icon back to their house for pancakes after a show that led to Country music history. What's more Lynn talks to us about growing up in a household where being the ‘hero child' was something of the norm, where riding horses was a huge part of life. What's more, Lisa is so invested in her family legacy that the amateur Rosarian, even brought about the comeback of the world champion Lynn Anderson Hybrid Tea Rose. From songwriting credits, to intellectual property to memorabilia to following through on her parents and grandparents wishes, we don't think you will find anyone more dedicated to her family legacy than Lisa Sutton. And it's all next on the Rarified Heir Podcast.

Esta tarde-noche James Taylor inicia su gira española que seguirá mañana en Barcelona y el jueves en Bilbao. JT es country, es blues, es soul, es Bach, Beatles, Aretha Franklin, Litghnin’ Hopkins, Ray Charles, George Jones, Louvin Brothers, Nat King Cole, Buddy Holly… Esta es una selección de artistas y canciones con ese punto de blues, soul, rhythm&blues, que tienen muchas composiciones del músico bostoniano. Los propios ídolos de James cantaron temas suyos: Aretha, Ray, George Jones…Milton Nascimento. Y más grandes de la música negra como Les McCann, Tower Of Power, Babyface, Shirley Horn o The Isley Brothers cantan a JT. Y completamos con canciones del propio James. DISCO 1 RUSS KUNKEL Mexico (6) DISCO 2 JAMES TAYLOR Walking Man (WALKING MAN - 1) DISCO 3 JAMES TAYLOR Money Machine (IN THE PÒCKET - 3) DISCO 4 VOCALEROS Shower The People (13) DISCO 5 DAKOTA MOON Your Smiling Face (12) DISCO 6 JAMES TAYLOR Terranova + Traffic Jam (10+11) DISCO 7 RICKY PETERSON Secret O’ Life (10) DISCO 9 MERRY CLAYTON Country Road (3) DISCO 9 BABYFACE Fire & Rain (2) DISCO 10 JAMES TAYLOR Carolina In My Mind (GREATEST HITS - 2) DISCO 11 KENIA Don’t Let Me Be lonely Tonight (Cara 2 – Corte 1) DISCO 12 THE SECTION & JAMES TAYLOR Bad Shoes (Cara 1 Corte último) DISCO 13 FLORA PURIM & AIRTO MOREIRA Only A Dream In Rio (SKETCHES OF JAMES - 6) Escuchar audio

Sean and Chris discuss The Cactus Blossom's latest release One Day in a book club-like format. They discuss everything from blood harmonies to which food is best paired with this album. Follow Albumworms on social media: instagram.com/albumworms --- The Cactus Blossom, Jenny Lewis, Blood Harmony, Americana, Folk, Country, Surf Rock, Soft Rock, Music Discussion, Album Review, Vinyl Collector, Vinyl Enthusiast, The Beach Boys, Everly Brothers, Hank Williams, The Louvin Brothers, Bob Dylan, Book Club for Albums

The award-winning “Malpass Brothers” will appear at the Texas Theater in Seguin on Sunday, July 10, with an afternoon show at 2 p.m. and an evening show at 5 p.m. Their music is steeped in the legacy of “The Louvin Brothers,” Johnny Cash, Marty Robbins, Hank Williams Sr., and others. Count on classic, real country, some new Malpass tunes, a couple of old-time traditional gospels, and you'll even see some big, high man hair and maybe an Elvis twitch or two. Tickets are for general admission and for reserved VIP seating. Purchase them online at www.heartoftexascountry.com.Article Link

On this new episode, maybe we need something soft to counter the hard news many Americans have witnessed this week: so why not dive into the crystalline brother harmonies of Minneapolis duo The Cactus Blossoms, who just put out a lush new record One Day?Sure, you could write off what Jack Torrey and Page Burkum are creating as simply a loving homage to roots pop pioneers like the Everly or Louvin Brothers with an acerbic modern twist. But with allies like David Lynch (who inserted them into his rebooted Twin Peaks universe) and Jenny Lewis in their corner (she joins them on the bouncy tear-jerker “Everyday”) there is something a bit more biting under the sweet-as-candy close harmonies and hushed acoustic guitars, Wurlitzer and pedal steel. With a song like “I Could Almost Cry,” you have to dive beneath the aching minor country chords and Hank Williams-adjacent lyrics to find a Beatles Rubber Soul fury roiling underneath. As the soft-spoken mention in this freewheeling talk - what lurks inside many of the songs on One Day isn't just the story of a broken love affair - but maybe of our slowly-breaking country which Jack and Page see out on the road and try and make sense of anew.Support this podcast at — https://redcircle.com/the-show-on-the-road-with-z-lupetin1106/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

When you have listened to country music over the years I think you will find references to a lot of cities that you're not familiar with. And then,,,, here comes a song that everyone relates to. So my friends how about hearing Marty Robbins sing about El PASO,  Bobby  Bare sings about DETROIT CITY. Johnny Cash sings about the girl in SASKATOON. Hey,,, double hit for us Canadians when Sonny James sings A LITTLE BIT SOUTH OF SASKATOON. Lots more cities and lots more artists. Tune in to hear what George Hamilton the 4th sings about,,,,, and Glen Campbell and the Louvin Brothers and much more. Be sure to share.

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & Roll; the music business was still limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex sound. On songs such as "Not Fade Away," "Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby," "Rave On," "Heartbeat," and "It's So Easy," Holly took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

Episode 199, “Songs About Letters,” presents 17 songs about letters of all types and varieties. Performers include the Louvin Brothers, Frank Sinatra, Lawrence Welk, Eddy Arnold, Billy Fury, Nat King Cole, Mary Osborn, and June... Read More The post Episode 199, “Songs About Letters,” appeared first on Sam Waldron.

Phil and Jake are joined by singer-songwriter Tim Hause to rank volcanoes and the song “American Pie” by Don McLean on the List of Every Damn Thing.Follow Tim on Instagram (@timbillhause) and Twitter (@timBILLhause). Check out his collaboration with brother Dave Hause on the fantastic new record “Blood Harmony” (which you can also find on Spotify & Apple Music). And see them play live near you! If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook). We also have a subreddit!SHOW NOTES: Phil looked up people pronouncing “human” like “yu-man” and apparently it's how people in NYC, Philadelphia and some places in Ireland say it. Phil is from rural California and although he used to live in NYC, he moved there as an adult. This clip features a scientific explanation of how Paul Bunyan and Babe the Big Blue Ox created the Grand Teton mountain range by roughhousing. We discuss a number of volcanic-relevant geographical locations including Mount St. Helens, The Road to Hana, Mount Shasta, Panum Crater, Pompeii, Arenal Volcano and Long Valley Caldera. Dr. Pimple Popper is a dermatologist who makes videos of pimples being popped. Look, the world isn't always that great, this sort of stuff is out there. We briefly discuss a volcano that erupted in the 19th Century, affecting global weather patterns and creating a year without a summer. The eruption in question was that of Mount Tambora in 1815 (the Year Without a Summer was the following year). It's also hypothesized that a similar thing happened in the 6th Century. Joe Vs. the Volcano is a 1990 film by John Patrick Shanley (Moonstruck) starring Tom Hanks & Meg Ryan (in multiple roles). It's a fun movie that lost a lot of money. Phil talks about underwater animals that survive from “geothermal” heat, but the real term is "hydrothermal vent". These animals have a whole little ecosystem that doesn't need sunlight. They live in one of the few truly alien environments on Earth. Jake mentions the use of McLean's song in Black Widow, but we can't remember the name of the character Yelena Belova. “The Day the Music Died” is a reference to Feb. 3, 1959, when Buddy Holly, Richie Valens & Big Bopper died in a plane crash.  Jake mentions the 1969 Altamont Free Concert, which is considered one of the end-markers of the 1960s. He incorrectly refers to the killing of a woman at the concert, when in fact it was an eighteen-year-old man (named Meredith) who was stabbed to death. Three other people also died at the concert. Songs we compare “American Pie” to include “Black Betty” by Ram Jam, “Turn! Turn! Turn!” by The Byrds, “Cats In the Cradle” by Harry Chapin, “You're So Vain” by Carly Simon, “The First Cut is the Deepest” by Rod Stewart, “Night Moves” by Bob Seager, “Mrs. Robinson” by Simon & Garfunkel, “The Saga Begins” by “Weird Al” Yankovic, “Cherry Pie” by Warrant, “Sweet Potato Pie” by Domino, “Do You Know the Way to San Jose” by Dionne Warwick and “Roly Poly” by Bob Wills and his Texas Playboys. We compare it to a few Billy Joel songs (“We Didn't Start the Fire”, “Piano Man” and “Only the Good Die Young”). There's been an ongoing reassessment of Billy Joel (since about 2009 when this LA times blog defended him). Here's a Vice defense, and here's Jon Gabrus' "High and Mighty" Billy Joel episode. We also discuss Taylor Swift's “All Too Well” and the “American Pie” cover by Madonna. Don McLean's twenty-seven year-old girlfriend is Paris Dylan. She and former NBA player Chris "Birdman" Andersen were both victims of a catfishing scheme a few years ago that's too weird to even explain but here's an honest attempt. Here's the Cocaine & Rhinestones episode on the Louvin Brothers (which talks about blood harmonies). We never say the name of their band, but when we talk about Matt Hock & Dave Walsh we're of course talking about Space Cadet. ALSO DISCUSSED IN THIS EPISODE:Hawaii * lava * wolves * hot springs * lava insurance * Bruce Springsteen * Shakira * anti-diarrhea medicine * Pee-Wee Herman * firefighters * the Golden Gate Bridge * songwriting * Waylon Jennings * Boomers * radio edits * ponies * Michael Caine * Mendocino Community College * sociology * The Ramones * Bell Biv Devoe * Reese's Ultimate Peanut Butter Lover's Cup * metatextuality * Howard the Duck * yes-menBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here).TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea bicycles - tool Clement Street in San Francisco - location Prince - person It's-It - food Cher - person dogs - animal cats - animal BOTTOM TEN:221. Jon Voight - person222. Hank Williams, Jr - person223. British Royal Family - institution224. Steven Seagal - person225. McRib - food226. death - idea227. war - idea228. cigarettes - drug229. QAnon - idea230. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan, with audio help from Luke Janela. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net. 

Tonight's episode of Pudding On The Wrist features a returning collaborator back to the control room.  Duncan Shepard of The Striped Bananas joins your host, Frozen Lazuras, to spin some tasty treats of the sonic variety.  Tonight's selection includes The Louvin Brothers, Opal, Fear Itself, The Smoke, and the always enigmatic Hank Collins.

Neil Strauss reflects on his friendship with the late Chuck Berry and his book, The Game, a chronicle of his journey and encounters in the seduction community. Neil also talks to Tom about his favourite songs: The Beach Boys - "God Only Knows", Harry Nilsson - "One", Leonard Cohen - "Famous Blue Raincoat", Louis Armstrong, - "St James Infirmary, Johnny Cash - "Father & Son”, Cesária Évora - “Petit Pays”, The Louvin Brothers - "Knoxville Girl", The Beatles - "The Long and Winding Road", The Kinks - "Waterloo Sunset", The Rolling Stones - "Wild Horses”, Crosby, Stills & Nash - “Our House", The Beatles - "While My Guitar Gently Weeps", Lefty Frizzell - "Long Black Veil", Chris Bell - "I Am the Cosmos", Sam Cooke - "Chain Gang", Lucinda Williams - "Drunken Angel", Vanilla Fudge - "Keep Me Hanging On", Soul Clan - "That's How It Feels", Marmalade - "Reflections of My Life", Gram Parsons/Emmylou Harris - “Love Hurts” and Bob Marley - “Redemption Song”. This episode is brought to you by Lumie, the original inventors of wake-up lights, whose Bodyclock Luxe 750DAB wake-up light mimics a natural sunrise and sunset. Shown to improve quality of sleep and to boost productivity in clinical trials, this remarkable device also features high quality audio with DAB+ radio, Bluetooth speakers, USB port and a selection of over 20 sleep/wake sounds. The Lumie Bodyclock Luxe 750DAB can transform the way you start and end your day, especially if you struggle to wake up in the morning and/or get to sleep at night - it certainly did for me. Go to lumie.com to find out more. This episode is brought to you by Modal Electronics, who make beautiful, innovative and powerful synthesisers. You can enjoy vibrant wavetable patches with their ARGON8 series. You can produce state-of-the-art analogue-style synth textures with their COBALT8 series. Go to modalelectronics.com to check out their incredible array of synthesisers.

История знаменитой компании Alpha Industries, а также Wynn Enterprises, слушания в Конгрессе и основные отличия контрактных курток от коммерческих. Что ты приобретаешь, покупая М-65? Завершение цикла о полевой куртке M-65.Для новых слушателей: объяснение того, что делает в названии подкаста Вечная мерзлота. В иллюстративных целях в этом эпизоде подкаста использованы фрагменты нескольких произведений, права на которые принадлежат их законным владельцам:Chattanooga Choo Choo, Glenn Miller and His Orchestra, 1941Knoxville Girl, The Louvin Brothers, 1956Daddy's Gone to Knoxville, Mark Nopfler, 2002А также призыв к общению и ссылка на скачивание приложения Castbox в Google Play Market, в Apple AppStore, и просто их сайт.Помимо Apple и  Google подкастов, можно слушать на Яндекс.Музыке, в Castbox, и даже на YouTube.Пиши в Инстаграм  и Телеграм indigoandpermafrostили на почту indigoandpermafrost@gmail.com. 

Sinners, singing and swinging is the theme we're bringing you as we approach the dog days of summer in yet another season of COVID. In a show refactored for these new and dangerous times we raise the level of the gospel message with influential performers from the past century like Blind Willie Johnson, Lonnie Johnson, The Louvin Brothers, and some contemporary interpretations to remind us that Jesus did, indeed, rock the jukebox with a steady roll. Gospel's rhythm is the rhythm of rock ‘n roll but these songs also carry a message for all you sinners out there. Don't let the devil ride the devil's slide into Satan's burning hell…all songs with a pressing message and a sense of sermon.  You can tune us in Friday evenings on 92.5 FM in Sonoma County or streaming to the world at kowsfm.com.

This week, Ozark original singer-songwriter and multi-instrumentalist Caleb Ryan Martin recorded live at Ozark Folk Center State Park in Mountain View, Arkansas. Also, interviews with Caleb. “Caleb Ryan Martin has, according to one reviewer, ‘a lonesome voice and rhythm that can at times invoke a lonesome ramblin' man sound, a voice that will haunt you with some type of mysterious mountain holler sound, like a banshee singing in the nether woods.' Caleb Ryan Martin, an acoustic bluegrass, folk and roots musician hailing from the hills of Fayetteville, AR. Looking like a man from leaner and meaner times, Caleb has traveled and played music all across the Midwest and Gulf Coast region, singing with expressive vocals, playing guitar, and picking the banjo providing people with melodic medicine. Caleb currently averages between 150 - 200 shows a year, with no sign of slowing down.” https://www.reverbnation.com/calebryanmartin1 In this week's “From the Vault” segment, musician, educator, and country music legacy Mark Jones offers a 1975 archival recording of Ozark original Dave Leatherman performing the Louvin Brothers classic “From Mother's Arms to Korea,” from the Ozark Folk Center State Park archives. Author, folklorist and songwriter Charley Sandage presents an historical portrait of the people, events and indomitable spirit of Ozark culture that resulted in the creation of the Ozark Folk Center State Park and its enduring legacy of music and craft. In this episode, Charley speaks with Ozark Folk Center Craft Director Jeanette Larson about the magic of fiber arts.

You may be wondering, Theophiloi, how we could possibly talk for over 90 minutes about 1 Samuel, which contains one of the Bible stories that literally everyone knows. And yes, you almost certainly know about David and Goliath, but do you know about David's vast collection of foreskins? Or the part where the King of Israel does necromancy with the mom from Bewitched? Or that sweet sweet groundhoney? If you do, well, listen anyway, there's good jokes in this one and we’re going back to our favorite metaphorical bar.   Topics of Discussion: The New Neo-Normal, "The Great Atomic Power" by the Louvin Brothers, BrotherMania, Benito's shocking and world-shattering opinion of "Unchained Melody," an innocuous phrase that I do not enjoy saying, Nazarites, a truly sick burn on ol' Howie Lovecraft, Dagon's door rules, the secret 11th Plague, sub-par goldsmithing, an indeterminate number of melted faces, Castlevania II,  Doeg the Edomite, a technique for identifying men that shows that quite frankly they have always been terrible, Carl Dean, To Da Dome, Goliath Facts, the Secret Chord Moratorium.      Hymnal: "Holding Out For a Hero" by Bonnie Tyler, "The Great Atomic Power" by the Louvin Brothers   Offertory: As Enoch writes, "Whoever of you spends gold or silver for his brother's sake, he will receive ample treasure in the world to come." Support the show via http://ko-fi.com/apocrypals, or check out Official Apocrypals merchandise designed by Erica Henderson! https://www.teepublic.com/stores/apocrypals?ref_id=18246   Black Lives Matter. Trans Lives Matter. Heck 12. Isaiah 54:17.  

Clint Mephisto’s Shit Kickin Road Show Episode 260, week of April 30th. It’s Walpurgisnacht, and it’s a special episode featuring music centered around the good man downstairs! Vintage classics from Hank Williams, Gene Vincent, The Louvin Brothers as well as demon wranglers from Hank III, Black Magic Beach Party, The Quakes, The Coffinshakers and more!

Alison was born and raised in Petersburg, VA in a working class family that was void of musical talent. Alison is an only child and isn’t aware of any musicians in her family, (she thinks her grandpa looked at a guitar once,)but swears that she has been singing since she learned to talk.  Alison plays a mix of honky tonk and old time country on the guitar. Her influences range from The Louvin Brothers and Kitty Wells to Roger Miller and Bessie Smith. She has a strong stage presence and her lyrics might make you cry, but you’re more than likely to laugh. Sometime in 2006 Alison decided to buy a ukulele, by the next year she was playing small DIY gigs around Richmond VA and also spending a good amount of time busking on the street for tips. Alison spent about 10 years based out of Richmond, Virginia where she was described as Richmond’s chanteuse “with a huge voice unlike any other female singer in Richmond” and until the end of her time living in the region (2015), became a well known musician who booked other acts in town, had side projects and toured the US. Alison traveled west in a ’96 Oldsmobile with no working windows for most of 2015, with a stint in Southwest VA then Nashville TN, until her car broke down outside of Denver. She played some shows and worked for a few months, decided it was time to go and drunkenly bought a $20 plane ticket to Austin TX. Figuring she had nothing to lose she sold her car for $200 and got rid of mostly everything she had carried with her and made the move. She didn’t even take her guitar. Austin was home for Alison for the past two years until she decided to uproot once again and make the move to Portland OR back in October 2018.  Alison was diagnosed with colon cancer in the winter of 2018, went through surgery and chemotherapy and finished all that in June 2019. Alison has been cancer free for almost 2 years. Traveling and restlessness have been strong themes in Alison’s songs which are influenced strongly by her early 20s spent hitch hiking and hopping a few freight trains here and there. Simply put, Alison writes from lived experiences. Thematically her songs run along the same lines of most honky tonk singers, past and present: working class upbringing, death, trains, bad decisions and too much booze.        Alison Info  https://alisonself.com/ https://alisonself.bandcamp.com/album/honky-tonk-haze-deluxe-version

Mañana James Taylor cumplirá 73 años. JT es country, es blues, es soul, es Bach, Beatles, Aretha Franklin, Litghnin’ Hopkins, Ray Charles, George Jones, Louvin Brothers, Nat King Cole, Buddy Holly… Esta es una selección de artistas y canciones con ese punto de blues, soul, rhythm&blues, que tienen muchas composiciones del músico bostoniano. Los propios ídolos de James cantaron temas suyos: Aretha, Ray, George Jones…Milton Nascimento. Y más grandes de la música negra como Les McCann, Tower Of Power, Babyface, Shirley Horn o The Isley Brothers cantan a JT. DISCO 1 RUSS KUNKEL Mexico (6) DISCO 2 DAKOTA MOON Your Smiling Face (12) DISCO 3 MILTON NASCIMENTO & JAMES TAYLOR Only A Dream In Rio (10) DISCO 4 MERRY CLAYTON Country Road (3) DISCO 5 ARETHA FRANKLIN & JAMES TAYLOR Shed a Little Light (ORDENADOR) DISCO 6 RAY CHARLES & JAMES TAYLOR Sweet Potato Pie (GENIUS... - 3) DISCO 7 RAY CHARLES Nothing Like A Hundred Miles (Cara 1 - Corte 1) DISCO 9 TOWER OF POWER Steamroller (SKETCHES OF JAMES - 1) DISCO 9 BABYFACE Shower The People (1) DISCO 10 THE ISLEY BROTHERS Don’t Let Me Be lonely Tonight (2) DISCO 11 KENIA Don’t Let Me Be lonely Tonight (Cara 2 – Corte 1) DISCO 12 SHIRLEY HORN Secret O’ Life (SKETCHES OF JAMES - 10) DISCO 13 NEW YORK VOICES Traffic Jam (3) DISCO 14 JONATHAN BUTLER Fire & Rain (5) DISCO 15 LES McCANN Nobody But You (SKETCHES OF JAMES - 3) Escuchar audio

Brent is my youngest brother (I’m the oldest of four). He was an incredible skater at a VERY early age and an all around phenomenal athlete. His love of music began when he started skating and is something that he and I have discussed ad-nauseum for our entire lives. I thought that it might be […]

Brent is my youngest brother (I’m the oldest of four). He was an incredible skater at a VERY early age and an all around phenomenal athlete. His love of music began when he started skating and is something that he and I have discussed ad-nauseum for our entire lives. I thought that it might be […]

Our second annual Christmas episode of Hard Rain & Slow Trains: Bob Dylan & Fellow Travelers. This episode includes "20 Pounds of Headlines: News From the World of Bob Dylan" and "Who Did It Better?" where we ask you to go to our Twitter page and vote for who did "The First Noël" better: Emmylou Harris or Bob Dylan? You can listen to last year's Christmas episode by looking up the 12/19/2019 episode. Merry Christmas everybody!

Our first episode! This is the one where Douglas AsSeenOnTv and Robbie Danger reveal the origin of "Father Charles" before raiding his mail for the first time. There is also a discussion about racial progress vs. pop culture overcorrection as well as a shallow dive into the phenomenon of white women "bringing the mayonnaise!"    We also issue our first set of Hallpasses From Suffering! Find out who will be raptured.    Credits: "The End Is Nigh Theme" written and performed by DouglasAsSeenOnTV and the Mushroom Cloud Tabernacle Choir This episode features "There's A Higher Power" by The Louvin Brothers

Donnie Winters... the MAN, the LEGEND, the SONGWRITER and (happy to say) MY FRIEND! Most folks only know him as the (very capable) soundman at Douglas Corner Cafe; a "must visit" stop on every songwriters' first (and every) trip to MUSIC CITY... but there is SO MUCH MORE to this amazing songwriter/performer's story. Such as? Well I'll attempt to keep the spoilers to a minimum but how's about THESE:He had his first cut while a Freshman in High School... with MARTY ROBBINS!!!He and his brother formed a band that played CHARLIE DANIELS' VOLUNTEER JAM FESTIVAL... repeatedly!!!He's scored cuts with artists as diverse as the LOUVIN BROTHERS, THE FLYING BURRITO BROTHERS, BARRY AND HOLLY TASHIAN, THE CHAPMANS, RONDA VINCENT, BUDDY & JULIE MILLER, NOB HILL BOYS and more!!!So sit back and listen in rapt attention to one of the more fascinating interviews we've presented yet. And by ALL MEANS make a point of stopping into Douglas Corner Tuesday Night on your next visit to Nashville... just be sure to call early to reserve a spot to play! DONNIE WINTERS MUSIC OFFICIAL DONNIE WINTERS FACEBOOK DONNIE WINTERS ALLMUSIC CREDITS WINTERS BROTHERS BAND OFFICIAL WEBSITE (INCLUDES TV SHOW INFO) NEXT GENERATION SONS & DAUGHTERS OF COUNTRY LEGENDS CONCERT (JUNE 9, 2016 6-11:30pm) DOUGLAS CORNER CAFE CALENDAR WINTER BROTHERS LIVE AT VOLUNTEER JAM 1979 ON YOUTUBE MARTY ROBBINS "SHOTGUN RIDER" ON YOUTUBE DON WINTERS (SR) "PRETTY MOON" OM YOUTUBE DON WINTERS (SR) "BE MY BABY, BABY" ON YOUTUBE BRENDAN SMOOTHER'S "PARAMEDIC SUICIDE" SONG AND FUND BRENDAN SMOOTHER MUSIC FACEBOOK WFMC JAMS NASHVILLE NIGHT WITH RANDY FINCHUM JIM OLIVER'S SMOKEHOUSE MUSIC ON THE MOUNTAIN LIVE (FEATURING RANDY FINCHUM AND FRIENDS MONTHLY) R.I.P. PRINCE ROGERS NELSON... YOU WERE ONE OF A KIND AND WILL BE MISSED

The Haden Triplets, Petra, Rachel and Tanya have played together in a variety of formats since they were small children. The daughters of legendary jazz bassist, Charlie Haden (Ornette Coleman, Don Cherry, their ability to sing and play a variety of instruments has found them playing with a regular Who's Who of musicians over the years. In this episode they tell stories about growing up in a musical household, recording their latest record with Ry Cooder and they even sing a few songs acapella as well. Enjoy! Intro music is Teenagers by The Meat Puppets, outro Up On The Sun by the Meat Puppets. In between you'll get some Louvin Brothers, Meat Puppets and more.