Podcasts about lovin spoonful

The legendary singer, songwriter and musician, John Sebastian, formerly of The Lovin Spoonful, discusses his career and interesting stories. --- Support this podcast: https://podcasters.spotify.com/pod/show/gary-stuckey/support

Roots of Rock - John Lee Hooker Connect the Dots This Week in Music History 5 Second Quiz Behind the Hits - Summer in the City by The Lovin Spoonful

Caplan talked with Len Berman and Michael Riedel about his Rock n Roll days working with Jimmie Hendrix and the Lovin Spoonful. He also hit on the latest attempt at banning smoking.

Mikey celebrates his 70th birthday. Mikey can't stand the congestion but refuses to pay for it. Bill scares Mikey and Ben with his latest conspiracy theory. Mikey has a new list of drugs with gross side effects. Mikey checks his ring doorbell camera for strange visitors. Castiglioke performs a terrible song by The Lovin Spoonful. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we bring you part 2 of the Big Sur Folk Festival, 1969. The BSFF occurred at Esalen Institute on September 13th and 14th of 1969, just about a month after Woodstock. As related in part one of this two part series, the festival was captured in a documentary called "Celebration at Big Sur," directed by Baird Bryant and Johanna Demetrakas - available on YouTube, a great watch. Set list for part 2: -John Sebastian, formerly of the Lovin Spoonful, with “Rainbows All Over Yours Blues" -"Woodstock" by Joni Mitchell, who accompanies herself on piano. -Some audio of an audience member, a school teacher who identifies as "a freak." - ”Red-Eye Express" performed by John Sebastian with Stephen Stills - “Malagueña Salerosa" by Carol Ann Cisneros - an extended ”Down By the River" by Crosby Stills Nash and Young. -“Sweet Sir Galahad" by Joan Baez - to end the show, "Oh Happy Day" by Dorothy Combs Morrison and the Combs Sisters, accompanied by Joan Baez. Some trivia about some of the musicians: -Joni Mitchell was dating a member of Crosby Stills Nash and Young at the time, Graham Nash. -Joni's song “Woodstock” was in fact inspired by the famous music festival, but she did not attend. Instead she opted to stay in New York City and appear on the Dick Cavett show. -John Sebastian: He was a founding member of the Lovin' Spoonful, known for hits like "Do You Believe in Magic?" and “Summer in the City." The Spoonful imploded after a 1967 marijuana bust. In the 80's Sebastian began writing and recording music for children's TV, including 1983's "Strawberry Shortcake: Housewarming Surprise" and 1985's "Strawberry Shortcake Meets the Berrykins." -Stephen Stills: a founding member of Buffalo Springfield who wrote one of the most recognizable songs of the 1960s, "For What It's Worth." Buffalo Springfield broke up in 1968, and Stills joined with David Crosby of the Byrds and Graham Nash of the Hollies to form early supergroup Crosby Stills and Nash. Neil Young wouldn't join them until August 1969, just a few short weeks before the performance that you're about to listen to. -Dorothy Combs Morrison won a Grammy in 1969 for her song "Oh Happy Day," which ends this episode - it reached #4 in the US and #1 in France that year. It was recorded in a church in Berkeley, California, a couple hours away from Big Sur. George Harrison stated that "Oh Happy Day" was a primary influence for his 1970 hit “My Sweet Lord.” -Joan Baez dated Steve Jobs in the 1980s. He was in his mid twenties and she was in her 40's. DIdn't matter. She was Joan Baez. At the time that Big Sur Folk Festival occurred she was married to an activist named David Harris, who was in prison in 1969 for refusing to serve in the armed forces. (In part one, we hear “Song for David,” written to her man behind bars.) During this performance, Baez is actually seven months pregnant; her son, Gabriel, was born in December 1969. Baez's performance of Pete Seeger's We Shall Overcome during the 1963 March on Washington is one of the most enduring images of the 1960s. In 1964, she publicly endorsed resisting taxes by withholding 60 % of her income. In 1972, Baez traveled to North Vietnam, to address human rights in the region, and was caught in a bombing of Hanoi, North Vietnam, during which the city was bombed for eleven straight days. Al Capp, the cartoonist for the strip Li'l Abner, created a character called "Joanie Phoanie" based on Baez - a communist radical who sang songs about class warfare but also rode in a limousine and charged outrageous performance fees to impoverished orphans. Beyond all of this, Baez is a genius songwriter and performer with a magical voice. She performed at each of the Big Sur Folk Festivals, beginning in 1964 and going until 1971. She still can occasionally be seen in the Carmel and Big Sur area. Ms. Baez, if you're listening now - come on back. There's a space at the Esalen baths with your name on it.

Jeff Buckley, MC5, Patti Smith et Joe Cocker. Fin août 1994 sort le 1er et seul album de la carrière du légendaire Jeff Buckley : “Grace” et l'inoubliable reprise de Leonard Cohen : "Hallelujah". Il sera retrouvé mort, noyé, moins de 3 ans après la sortie de cet album, en mai 1997. Thom Yorke de Radiohead revendique l'influence de Buckley, sur “Fake Plastic Tree” sorti en 1995. Matthew Bellamy de Muse, Chris Martin de Coldplay ou encore Adele font partie des autres artistes à s'être imprégnés de cet album. Le 4 novembre, disparition de Fred “Sonic” Smith (époux de la poétesse du rock, Patti Smith) à l'âge de 46 ans, guitariste du groupe de Detroit, les MC5. Grâce à l'invitation de son ami Michael Stipe de R.E.M., Patti Smith fera son come-back. Joe Cocker retrouve le succès avec la reprise aux influences reggae de The Lovin Spoonful fin des 60's : “Summer in the City”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Dedicamos este tiempo de radio a The Lovin' Spoonful, la banda liderada por John Sebastian desde el Greenwich Village de Nueva York. Repasamos los tres discos que en menos de dos años editó la formación original de este grupo que supo arropar los sonidos de raíces con las más brillantes melodías. (Foto del podcast por Don Paulsen; The Lovin' Spoonful en Central Park, New York, 1966)Playlist;(sintonía) THE LOVIN SPOONFUL “Other side of this life” (instrumental)THE LOVIN’ SPOONFUL “Good time music”THE LOVIN SPOONFUL “Blues in the bottle”THE LOVIN SPOONFUL “Did you ever have to make up your mind?”THE LOVIN SPOONFUL “Do you believe in magic?”THE LOVIN SPOONFUL “Younger girl”THE LOVIN SPOONFUL “My gal”THE LOVIN SPOONFUL “You didn’t have to be so nice”THE LOVIN SPOONFUL “Daydream”THE LOVIN SPOONFUL “It’s not time now”THE LOVIN SPOONFUL “Warm baby”THE LOVIN SPOONFUL “Didn’t want to have to do it”THE LOVIN SPOONFUL “Jug band music”THE LOVIN SPOONFUL “Lovin’ you”THE LOVIN SPOONFUL “Summer in the city”THE LOVIN SPOONFUL “Rain on the roof”THE LOVIN SPOONFUL “Darlin’ companion”THE LOVIN SPOONFUL “Nashville cats”THE LOVIN SPOONFUL “Henry Thomas”THE LOVIN SPOONFUL “Full measure”Escuchar audio

For this episode we take another trip into the Ugly Things tape archive for a January 1995 interview with Johnny Ramone. Johnny talked to Mike Stax about growing up in the ‘50s and ‘60s in Forest Hills, New York, his high school garage band the Tangerine Puppets, and some of the great live shows he saw back then, including the Beatles, the Stones, the Who, the Lovin Spoonful, the Stooges, and his hometown heroes, the Vagrants. And, of course, they talked about the Ramones. Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. In this episodes bonus content we are featuring a copy of Ugly Things Issue No.14 (1995) Long out of print, this issue features the Johnny Ramone interview as well as a huge cover story on Crime, pluch much more. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

For this episode we take another trip into the Ugly Things tape archive for a January 1995 interview with Johnny Ramone. Johnny talked to Mike Stax about growing up in the ‘50s and ‘60s in Forest Hills, New York, his high school garage band the Tangerine Puppets, and some of the great live shows he saw back then, including the Beatles, the Stones, the Who, the Lovin Spoonful, the Stooges, and his hometown heroes, the Vagrants. And, of course, they talked about the Ramones. Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. In this episodes bonus content we are featuring a copy of Ugly Things Issue No.14 (1995) Long out of print, this issue features the Johnny Ramone interview as well as a huge cover story on Crime, pluch much more. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Eigentlich war das der Versuch eines kleinen Bruders, seinen größeren Bruder zu imponieren. Mit einer Songskizze. Und dabei war der Große so begeistert, dass er sich gleich ans Arbeiten machte - es brauchte einen Counterpart und noch ein paar andere Elemente - und daraus wurde eine Nummer 1 - die ganze Story in der aktuellen Episode. Episode zu The Mamas & The Papas: https://100malmusiklegenden.de/2021/02/07/california-dreamin-the-mama-the-papas/ Mein Facebook Profil: https://www.facebook.com/markus.dreesen Mein Instagram Profil: https://www.instagram.com/markusdreesen/?hl=de Könnt mir gerne folgen, gibt da immer wieder Updates zum Podcast und sonst so ... Offizielle Playlists: https://music.apple.com/de/playlist/100malmusiklegenden/pl.u-JjM2F9Nv5z (Apple) https://open.spotify.com/playlist/6RGcoNO671nOMpYRkTTQLV (Spotify) Songvorschläge, Episodensuche und T-Shirts unter 100malmusiklegenden.de! Infos zu möglichen Werbekooperationen unter https://100malmusiklegenden.de/werbung

Hoy en La Gran Travesía saludamos al verano que ha entrado hace una semana con mucha fuerza. Hoy sonarán los Kinks, Lovin Spoonful, los Doors, Ramones, Beach Boys, Rivieras, Martha and the Vandellas, The Ataris, Alice Cooper, Bryan Adams, Janis Joplin, Eddie Cochran... ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. Muchas gracias a todos los mecenas y patrocinadores por vuestro apoyo: Patrilb, Kaiman Tanaka, Raul Andrés, Jbasabe, Iñako GB, Francisco Quintana, Contell Carles, Eugeni, Pablo Pineda, Tomás Pérez, Quim Goday, Enfermerator, Joaquín, Sergio Castillo, Horns UP! Lourdes Pilar, Jose Diego, Dora, Miguel Angel Torres, Dani, Suibne, Jesús Miguel, Leticia, Sementalex, Guillermo Gutierrez, Enrique FG, Mati, Elliot SF, Redneckman, Daniel A, Luis Miguel Crespo, Vlado 74, Alvaro Pérez, Marcos París, Angel Hernandez, Edgar Cuevas, Okabe 16, Jit, Karlos Martinez, Vicente DC, Francisco González, María Arán, javifer27, juancalero62, Eulogiko, Fonune, Juan Carlos González, Víctor Bravo, Edgar Xavier Sandoval Morales, Adrián Guillot, Quijovi… y a los mecenas anónimos.

Singles Going Around- Steak Potatoes And CheeseBelieve it or not, this week's episode has a theme. And it is devoted to friendship; which a better part of of one's life consist of.Larry Williams- "Dizzy Miss Lizzy"The Lovin Spoonful- "Almost Grown"Frijid Pink- "I'm On My Way"Vaqueros- "Island In The Sun"Eric Clapton & The Powerhouse- "Crossroads"Bo Diddley- "Road Runner"The Beach Boys- "Gettin' Hungry"Blue Cheer- "Rock Me Baby"Link Wray- "Raw-Hide"Wilson Pickett- "Ninety- Nine and A Half"Jose Feliciano- "In My Life"*All take from the original records

Cocinamos una selección de canciones para escuchar en carretera, canciones para conducir sin pensar en lo que dejamos atrás ni lo que nos espera más adelante.Playlist;(sintonía) JOEL PATERSON “Drive my car” (Let it be guitar, 2019)J.J. CALE “Anyway the wind blows” (Okie, 1974)ERIC CLAPTON “Lonesome and long way from home” (Eric Clapton, 1970)DELANEY and BONNIE and Friends “Comin’ home” (1970)THE LOVIN SPOONFUL “Darlin’ companion” (Hums of the Lovin' Spoonful, 1966)THE DOORS “Roadhouse blues” (Morrison Hotel, 1970)THE FLAMIN’ GROOVIES “Sweet roll me on down” (Flamingo, 1970)ROY LONEY and THE PHANTOM MOVERS “Driving Wheel” (Action shots, 1993)NEIL YOUNG “Everybody knows this is nowhere” (Everybody knows this is nowhere, 1969)BUFFY SAINTE-MARIE “Better to find out for yourself” (Illuminations, 1969)THE GUESS WHO “Bus rider” (Share the land, 1970)CRACKER “Get on down the road” (Berkeley To Bakersfield, 2014)THE MORELLS “The man who has everything” (Shake and push, 1982)BEN VAUGHN “Don’t say you don’t wanna” (Dressed in black, 1990)JOHN FOGHERTI “The old man down the road” Centerfield, 1985)JEFFREY FOUCAULT “Lodi” (Stripping Cane, 2004) Escuchar audio

John Sebastian's rich musical catalogue reflects a life deeply steeped in craft, cultural resonance and history. John's career has taken him from The Lovin' Spoonful to Bob Dylan to Mama Cass to Woodstock to movie soundtracks and beyond. John joins us to share stories of his creatively colorful Greenwich Village childhood, surrounded by folk and classical luminaries, his harmonica virtuoso father, his screenwriting mother and his Godmother, Vivian Vance!His talent and experiences inspired him to write and record an ecclectic array of hits including: Summer In The City, Darlin' Be Home Soon, Welcome Back, Nashville Cats, You Didn't Have To Be So Nice, Did You Ever Have To Make Up Your Mind, Do You Believe In Magic and a bunch more.And John comes to us brining word of his newest album with Arlen Roth called John and Arlen Explore The Lovin' Spoonful Songbook.Plus, Fritz and Weezy are recommending Harry and Meghan on Netflix and Harry Chapin: When In Doubt, Do Something, on Prime Video. Also, we introduce our first Helping Folks Help charity partner, Children's Burn Foundation.Path Points of Interest:John SebastianJohn and Arlen Revisit The Lovin' Spoonful SongbookJohn Sebastion in The Songwriters' Hall of FameJ.B.s Harmonica by John SebastianDarlin' Be Home Soon Live On The Ed Sullivan ShowHarry and Meghan - Netflix Harry Chapin: When In Doubt, Do SomethingChildren's Burn Foundation

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. 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 There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

Today's show features Simon & Garfunkle, XTC, Tears For Fears, The Smiths, Jake Holmes, The Outsiders, Turtlrs, Beatles, Billy Joel, Mamas & Papas, Spanky & Our Gang, Harry Chapin,, Lovin Spoonful, Hollies, Rascals, Janis Ian, The Who, Animals, Youngbloods, Bo Deans, Kinks, Pretenders, Decemberists, Smiths and Beck.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS carries its director's fingerprints more clearly than most films in the Marvel Cinematic Universe, but is it ultimately more of a Sam Raimi movie or an MCU installment? We hash out that question this week with the continued assistance of our friend Matt Singer, before bringing back in what is unquestionably a Sam Raimi film, 1993's ARMY OF DARKNESS, to compare how the two movies operate as vehicles for the director's filmmaking sensibility, as sequels, and as Bruce Campbell showcases. Please share your comments, thoughts, and questions about ARMY OF DARKNESS, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS, or anything else in the world of film, by sending an email to comments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more.  Outro music: The Lovin Spoonful, “Do You Believe In Magic?” Next pairing: Robert Zemeckis' WHO FRAMED ROGER RABBIT and Akiva Schaffer's CHIP 'N' DALE: RESCUE RANGERS A CHIARA opens exclusively in theaters Friday, May 27. More info at CinemaMadeinItaly.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Paul Rock and David Jenkins of The Wild Honey Foundation, a non-profit that raises money for charitable causes through cultural events, passing on the passion, creativity, and idealism found in music to future generations. Paul and David reminisce about some of their greatest shows going back decades honoring The Lovin' Spoonful, The Kinks, Brian Wilson, Buffalo Springfield, as well as their live renderings of whole albums, such as the Beatles' White Album and the Band's Music from Big Pink. One of their notable causes is autism, and Paul shares some news about the progress of his son who is now communicating through typing. If you're a music fan, a musician, or have ever heard about this thing called music, you'll enjoy the enthusiasm and spirit of this episode.The Wild Honey Foundation's Facebook Page (where you can find out about upcoming shows):https://www.facebook.com/groups/WIldhoneyfoundationSome of The Wild Honey Foundation's shows on YouTube:https://www.youtube.com/channel/UC96qlWKL8rk5wBeX3BS8b7gA video of Cry Baby Cry featuring Iain Matthews and the great Christine Collister:https://www.youtube.com/watch?v=IHcpCL8j_zcThoughts? Comments? Potshots? Contact the show at:https://www.discreetguide.com/podcast-books-shows-tunes-mad-acts/Follow or like us on podomatic.com (it raises our visibility :)https://www.podomatic.com/podcasts/books-shows-tunes-mad-actsSupport us on Patreon:https://www.patreon.com/discreetguideJennifer on Twitter:@DiscreetGuideJennifer on LinkedIn:https://www.linkedin.com/in/jenniferkcrittenden/Discreet Guide Training:https://training.discreetguide.com/

Rock & Roll Hall of Famer John Sebastian makes Danny's dreams come true, as he talks about his historic run with The Lovin' Spoonful during the 1960s and his solo career. He answers questions about the origins of their biggest hits, how he accidentally performed at Woodstock, and whether their name really had to do with drugs. Plus, John plays the game, "Were They Nice?" where we ask if certain celebrities were actually kind people - you know, the important stuff. John also tells us about his new album, "John Sebastian and Arlen Roth Explore the Spoonful Songbook," where he revisits many of the band's classics. If you have have comments, questions, or personal misheard-lyric stories, you can send them to IfYoureAnOldSoul@gmail.com

Snack Music Summer Edition (Riedizione 2020/'21) Arrriva la puntata speciale interamente dedicata alla musica rock dell'estate. Ascolteremo le canzoni che parlano della bella stagione diventate, nel tempo, vere e proprie colonne sonore. Con Ark al microfono, affronteremo un viaggio epocale tra musica ed eventi: si parte dal 1966 Con i The Lovin Spoonful, per poi passare agli anni 80, dove tra mondiali ed estati caldissime, si ascoltavano Bryan Adams, Van Allen e tanti altri Il viaggio continua attraverso gli anni 90, dove incontreremo artisti del calibro di Joe Satriani, per arrivare al nuovo millennio, passando per i Weezer a Kid Rock. In conclusione, sedetevi comodi e iniziate a viaggiare insieme a noi, per un'estate in musica indimenticabile.

Hugo Egon Balder erzählt Geschichten und Anekdoten rund um einen Lieblingshit und seine Entstehung: "Summer In The City" von The Lovin' Spoonful. Von Hugo Egon Balder.

June Millington, director Bobbi Jo Hart and Face2Face host David Peck talk about their fun, engaging, long overdue new film Fanny: The Right to Rock. They touch on sexism in the industry, liberation, your inner compass, poetry, safe spaces and role models, racism and why it’s so important to play it forward.“Revivify Fanny. And my work will be done.” David BowieTrailerTo learn more about the band and their work head here.For more information about IMA go to www.ima.orgSynopsis:Fanny: The Right to Rock opens with the words of David Bowie, bemoaning the band’s fate: “One of the most important bands in American rock has been buried without a trace.” The film then takes us deep into the woods of Goshen, Massachusetts, where we discover the Institute for the Musical Arts. It’s an underground music camp and recording studio for girls and women only, where Fanny lead guitarist June Millington, 69, has been teaching young girls to rock out long before rock camps became “a thing.”There, she and fellow Filipina-American bandmates, including her bass-playing sister Jean and drummer Brie Darling, celebrate their 50-year reunion with a new rock record deal -- cheekily titled Fanny Walked the Earth. If the stars align, it’s a chance to right the wrongs of music history.Fanny: The Right to Rock juxtaposes an intimate, cinema verité journey of Fanny’s uphill battle to complete and release their new album, with the fascinating herstory of the band’s improbable journey during their 70s heyday. Their controversial, self-penned lyrics dared embrace the newfound freedom of birth control as well as the trauma of the Vietnam War.Discovered early on by the secretary of legendary producer Richard Perry and signed as teenagers to the epic Warner/Reprise label,Fanny honed their signature sound in edgy L.A. clubs like The Troubadour. Fanny Hill, hosted regular jam sessions with visitors/crashers including Joe Cocker, Little Feat, and Bob Dylan’s The Band. There, serious rock & roll comingled with sex, drugs and skinny dipping.Fanny toured extensively across North America and Europe with major groups including Slade, Chicago and Ike & Tina Turner. They toured while writing, recording and releasing a new album every year from 1970 -75. They performed live and gave interviews on major network TV shows with Dick Cavett, Sonny & Cher, Helen Reddy and The Tonight Show, as well as the famed BBC show “The Old Grey Whistle Test”.The movie includes testimonials from Kate Pierson of the B-52s, Bonnie Raitt, Cherie Currie of The Runaways, Kathy Valentine of the Go-Gos, and Bowie bassist Gail Ann Dorsey. Male music icons also sing their praises including Todd Rundgren, Charles Neville of The Neville Brothers, The Lovin’ Spoonful’s John Sebastian and Def Leppard’s Joe Elliott (who unveils a Fanny flexi-disc he has saved for 50 years, since he discovered the band at age 12).About June Millington and Bobbi Jo Hart:Bobbi Jo Hart is an award winning American/Canadian documentary filmmaker with Adobe Productions International, based in Montreal, Canada. With a career that has spanned 25 years, Hart has filmed in countries as diverse as Pakistan, Russia, Guatemala, Australia, Scotland and Zimbabwe — with subjects ranging from women’s professional soccer and tennis to classical music, comedy, dance and manic depression. Her documentary films have the most common thread of revealing untold stories of marginalized girls and women, weaving universal threads of dreams, family, love, loss, happiness, sadness, success, failure and determination. Her intimate, cinema verité style results in thought-provoking films that ultimately celebrate our shared humanity.Her most recent feature documentary I Am Not A Rock Star premiered at dozens of worldwide film festivals and was broadcast on networks in many countries, including BBCFour, SVT Sweden, ABC Australia, Documentary Channel. Music in the film included Jack Johnson & Patrick Watson. This film won many festival awards as well. Hart’s previous award-winning films include SHE GOT GAME: Behind-the-Scenes of the Women's Tennis Tour (LIFE Network, Starz), which had exclusive access during over a year on tour. Hart is currently starting the festival tour for her exclusive theatrical documentary celebrating Les Ballets Trockadero de Monte Carlo (Documentary Channel, ARTV).June Millington “one of the hottest female guitarists in the industry” wrote, Guitar Player Magazine has been making music since she was a child playing ukulele in her native Philippines. Having moved from Manila to California in the early sixties, she and her sister bassist Jean turned in their folk guitars for electric and formed a succession of all-girl bands. By ‘69 they were in Hollywood with their band Fanny, which was one of the first all-women’s rock band to be signed to a major label (Reprise). Through five successful albums and extensive touring of Europe and North America, Fanny served notice that women could do more than simply sing, they could write and play passionate rock ‘n roll. As David Bowie said of the group in an interview with Rolling Stone (RS January 2000): “They were extraordinary: They wrote everything...they are as important as anyone else who’s ever been, ever....”Fanny played with major artists like Chicago, BB King, Dr John, the Kinks, the Staples Singers, Ike and Tina Turner, & Chuck Berry - and recorded an album at Apple Studios with Geoff Emerick, the Beatles engineer. June left the band in 1973 and continued to record and perform with her sister and on a number of solo albums. She played in the genre of women’s music for many years, and produced records by artists Cris Williamson, Holly Near, Mary Watkins, Melanie DeMore, and Bitch and Animal, among others. She is the co-founder and Artistic Director of the non-profit Institute for the Musical Arts [IMA], an internationally known teaching, performing and recording facility supporting women and girls in music and music-related business. Founded by June, along with partner Ann Hackler, activist/writer Angela Davis, and engineer/producer Roma Baran, IMA expanded into a 25- acre campus in Goshen, MA which runs five residential summer programs for girls and young women from 9-24 and hosts shows and workshops with established artists the rest of the year.Millington has received numerous awards for her achievements including the Audio Engineering Society’s Lifetime Achievement award, the Bay Area Career Women’s LAVA award for being a “leg- end of women’s music,” the Outmusic Heritage Award and in 2007 she, along with the other members of FANNY, received the Rockrgrl Women of Valor Award at Berklee College of Music. In 2013 she received New England Public Radio’s (NEPR) Arts and Humanities Outstanding Individual of the Year Award, the Veteran Feminists of America Award and, along with her partner Ann Hackler the Outstanding Activist Award from the Living Kindness Foundation. In 2015 she was given an award for her contributions by the National Women’s Music Festival.June released her autobiography Land of a Thousand Bridges: Island Girl in a Rock ‘n Roll World in June of 2015 and has received a great deal of press, including articles in MS Magazine, Pitchfork and Newsweek as well as on NPR. Millington continues to perform, write and record and teaches at IMA as well as colleges and universities around North America.Image Copyright and Credit: Adobe Productions International and Bobbi Jo Hart.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck’s podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Fresh off the presses, Today's episode is talking about some autograph collecting my musical tastes and some video game talk. The music featured in today's podcast is Entry of the Gladiators by Fucik and Do You believe in MAgic by the Lovin Spoonful. If you have any content you want to see covered shoot me a message on IG @ Tdogwhs Shoutout to the #ASMB --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

If you missed last week's episode for some weird reason. today to hopefully bring you guys back to those who aren't actively listening to my podcast at this moment in time when your lives might be getting busier because people are back to work with cases going down,I bring to you a VERY Special Episode of my podcast. I sometimes do interview episodes of my show where I talk to an original member of either a 60's band or someone who was a studio musician, songwriter, engineer, someone who was there and someone who may not be a well known household name, but someone who was arguably one of the most important movers and shakers in the record business back in the 60's, and I have them on so they can tell the stories behind their hit songs and they can unveil to you some little known facts about their music to you and they can share their story which will live on the internet forever with this podcast long after they die. and last weekend, I had THE EXTREME HONOR to talk to an original member of arguably one of THEE GREATEST 60's bands that ever graced AM radio at that time, and one that was absolutely JUST AS GOOD, if not better then The Beatles. I was LITERALLY on cloud nine getting to talk to him, and he had such a great time talking to me and he was gracious enough to share with me the story behind his band, and BOY DID I LEARN SO MUCH about his band from listening to him talk. And if your a Millennial tuning into this and don't know anything about the band this guy was in, they were called the Lovin Spoonful and they were FANTASTIC as a group and they burst on to the Pop Music Scene when it felt like Popular Music was reaching it's zenith with Folk Rock becoming huge and Motown on top of their game and the NY producers & engineers trying to copy that sound, and of course , the British Invasion was in full swing at that time as well, and they had SUCH A GREAT SOUND that was the perfect blend of Folk, Blues & Pop Rock.You might know some of their songs such as "Do You Believe In Magic" or "Summer In The City", well if you do, your in for a real treat because I'm gonna talk to an original member of the band that did all of those songs and he also played keys & bass on all of them and co wrote some of their hits as well such as "You Didn't Have To Be So Nice" and "Summer In The City" without further or do I present to you the 11th interview episode of my podcast, the one and only Mr Steve Boone. if you are lost in this episode and don't know any of the songs we are talking about, I will put in them into the two playlists I have for this podcast and here are the links to them so you can listen to these songs and go back and listen to this interview so you can fully comprehend what we are talking about in this interview episode of this podcast:https://www.youtube.com/watch?v=JnbfuAcCqpYhttps://www.youtube.com/watch?v=BIM579H-f7Yhttps://www.youtube.com/watch?v=dfqwx7pMsqshttps://www.youtube.com/watch?v=Lt5Jy983uTEhttps://www.youtube.com/watch?v=BRTkqGSKTtshttps://www.youtube.com/watch?v=txTEhgReZUAhttps://www.youtube.com/watch?v=U7ofnHmxE-Ihttps://www.youtube.com/watch?v=jqi7Fv6VFjwhttps://www.youtube.com/watch?v=Nq4J9KyJb4shttps://www.youtube.com/watch?v=9ZqgFyj5uTohttps://www.youtube.com/watch?v=G9gKcb2DSb8https://www.youtube.com/watch?v=JVz5Uc8dyfchttps://www.youtube.com/watch?v=pAur4CWJIPwYou can also follow me on Instagram right here:https://www.instagram.com/iheartoldies/You can also check out more of my original music right here:https://www.samwilliamsmusic.netPlease do also check out my two song single out now, it's under my new stage name Sam L Williams and the songs are called Turquoise Apricot and She Said No. Here's the link to where you can stream the two songs on some of the streaming platforms it's on currently. please let me know what do you think of these songs after you have listened to them. you can email me what do you think of them at samltwilli@icloud.com or you can also follow me on Instagram @iheartoldies:https://distrokid.com/hyperfollow/samlwilliams/turquoise-apricot--she-said-noPlease do also check out the official Spotify and Youtube Playlists for this podcast, there you'll be able to find all of the songs I have talked about in previous podcast episodes of this show including some of the ones I have talked about in interview episodes of my podcast including this one. if you liked these songs after listening to these playlists and if it gives you some ideas for the kind of songs I should talk about next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com or you can also reach out to me on Instagram @iheartoldies:https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=Ej6X4EZCRGGRsasYDswUZghttps://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7NfPlease do also check out the official Redbubble Merch store for this podcast. there you'll be able to find my own custom merch for this podcast with my own logo that is specific to my podcast with the catchphrase I say at the end of every episode of my podcast with the name of my podcast on the bottom all in really cool "Keep On Trucking" Tie Dye Font. if you liked this logo and would like to purchase something from this store or if you have some basic feedback for this logo and the prices of each item for this store, please email me at samltwilli@icloud.com or reach out to me on Instagram @iheartoldies: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-ownerIf you REALLY enjoyed this interview episode of this podcast and your a millennial and you didn't know ANYTHING about this band and you found out some REALLY cool and interesting pieces of info about this band that you didn't already know and your around my age, please email me at samltwilli@icloud.com or you can also reach out to me on Instagram @iheartoldies.

This week's podcast is ALL about Phil Spector and his long and extensive history. today I talk about how he developed his "Wall Of Sound" and the Musicians he used on his sessions and his methods to his madness for his productions and exactly what musicians he used on his sessions and how much he experimented with Overdubbing before it was "cool" and industry standard, and also, I talk about how he had a tendency to cheat people out of credits and why he was such a two face and how he did this. This is also the VERY first "Three Part" episode of my podcast. normally it's just two parts but for the sake of time this week I spread it into three parts. so that way I could spend an equal amount of time on both She & Him & Phil Spector and his "Wall Of Sound", here's the link to that Phil Spector song just in case you forgot about it but don't remember it:https://www.youtube.com/watch?v=Lf_fxswodiQYou can also follow me on Instagram right here:https://www.instagram.com/iheartoldies/You can also check out more of my original music right here:https://www.samwilliamsmusic.netPlease do also check out my official Two song single "Turquoise Apricot" and "She Said No" under my new stage name Sam L Williams. here's the link to where you can find it on some of the streaming platforms it is on currently, please let me know whatcha think of it either by emailing me at samltwilli@icloud.com or you can also reach out to me on Instagram :@iheartoldies.https://distrokid.com/hyperfollow/details/?id=7552EC53-8721-4513-B9FAF0ACB4925946Please do also check out the official Spotify and Youtube playlists for this podcast, there you'll be able to find all of the songs I have talked about on my show so far including some of the ones that I have mentioned in Interview episodes of my podcast. if you listened to this playlists and they give you some ideas for some songs I should talk about next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=MoQWwUMxSJeYMmAg867hTwhttps://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7NfPlease do also check out the Official Redbubble Merch store for this podcast, there you'll be able to find the official Millennial Throwback Machine Merch page for this podcast, with my very own custom logo for this podcast. if you like this logo and would like to purchase anything from this store, please email me at samltwilli@icloud.com or you can also reach out to me on Instagram @iheartoldies, but please do let me know whatcha think of the logo itself plus the prices for each item in the store as well: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-ownerif You found some VERY cool little known facts about the song from a few week's artist and song and you didn't know anything about them or Phil Spector in general, please email me at samltwilli@icloud.com. please keep in mind next week's episode is an interview episode of my podcast where I'll be talking to Steve Boone, original member of the Lovin Spoonful over the phone. so please go back and listen to the episodes I did on them which I did 3 years ago when I first started this podcast, and listen to some of their hit songs such as "Summer In the City", "Daydream", "You Didn't Have To Be So Nice", "Do You Believe In Magic", "Did You Ever Have To Make Up Your Mind", to prepare for next week's episode of the podcast. I'm very excited to do that and I'll see you guys next week for that.

Rob Duquette is a multi-instrumentalist singer songwriter and head of the eponymously named band Duquette. A long time sideman during the 1990s on drums, xylophone, guitar and vocals for Jonathan Edwards of the Lovin Spoonful's touring band, and one half of the critically acclaimed jazz folk pop duo Cactus Highway during the 2000s, Rob has created three albums of solo work including his latest Stay With Me. Recorded at Acacia Recording Studios in Rob's home base of Portland, Maine, Rob plays nearly all the instruments on the album. A skilled music instructor and arranger, his work reflects his versatility and eclectic musical range.Support this podcast at — https://redcircle.com/back-story-song/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Rob Duquette is a multi-instrumentalist singer songwriter and head of the eponymously named band Duquette. A long time sideman during the 1990s on drums, xylophone, guitar and vocals for Jonathan Edwards of the Lovin Spoonful’s touring band, and one half of the critically acclaimed jazz folk pop duo Cactus Highway during the 2000s, Rob discusses his songs “Movin On,” “See Me,” “You Be The Tree,” “Light House” and “Trying Hard.”

Born in New York on August 31, 1940, Hankin took an industrial design degree from the University of Syracuse; multifaceted artist, in addition to being an actor, Hankin is also a screenwriter, producer, director and singer; he began his career as an illustrator in the entertainment world, and studied acting at Syracuse University, Syracuse New York. In same class with Frank Langella and Carl Gottlieb. Was a member of the comedy improvisation groups Second City (Chicago) and The Committee (San Francisco). Hankin continues today his work in Hollywood film and Tv productions.Larry & talked about his early career working with Woody Allen and opening for the Lovin Spoonful. We went on to talk about his film career and battles with dyslexia, ADHD, & OCD.Make sure to check out his website to see all of his personal projects:Larry Hankin We talked a lot about his Mockumentary "How to Become and Outlaw" and you can catch the whole video here:How to Become an OutlawIf you'd like to support the show and get some cool perks, check out our Patreon page:BTB PatreonA big thank you to my new Patreon Patrons!Steve FreetoMeike RmLook for new stuff for Patrons soon!If you like the show, you can follow us on social media! Isn't that great!FacebookTwitterInstagramAnd..if you want to see some of my comedy, you can check out my YouTube Channel and heck, maybe subscribe!BTB YouTubePlease give us a review on Apple Podcasts & Stitcher! It's really easy and helps us get heard!

Born in New York on August 31, 1940, Hankin took an industrial design degree from the University of Syracuse; multifaceted artist, in addition to being an actor, Hankin is also a screenwriter, producer, director and singer; he began his career as an illustrator in the entertainment world, and studied acting at Syracuse University, Syracuse New York. In same class with Frank Langella and Carl Gottlieb. Was a member of the comedy improvisation groups Second City (Chicago) and The Committee (San Francisco). Hankin continues today his work in Hollywood film and Tv productions.Larry & talked about his early career working with Woody Allen and opening for the Lovin Spoonful. We went on to talk about his film career and battles with dyslexia, ADHD, & OCD. Make sure to check out his website to see all of his personal projects:Larry Hankin We talked a lot about his Mockumentary "How to Become and Outlaw" and you can catch the whole video here:How to Become an OutlawIf you'd like to support the show and get some cool perks, check out our Patreon page:BTB PatreonA big thank you to my new Patreon Patrons!Steve FreetoMeike RmLook for new stuff for Patrons soon!If you like the show, you can follow us on social media! Isn't that great!FacebookTwitterInstagramAnd..if you want to see some of my comedy, you can check out my YouTube Channel and heck, maybe subscribe!BTB YouTubePlease give us a review on Apple Podcasts & Stitcher! It's really easy and helps us get heard!

Label: Kama Sutra 239Year: 1967Condition: MPrice: $16.00This rarely heard Spoonful single has two terrific sides... the flip is a full-fledged romper harking back to "Do You Believe in Magic" but without John Sebastian singing lead. It sounds more like a British power pop number than anything a U.S. band would make, actually. (That's a compliment, by the way!) Note: This beautiful copy has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).

Mike Arturi is a lifelong professional musician and music lover. Mike has toured, performed, and/or recorded with numerous internationally acclaimed artists including Chuck Berry, Bo Diddley, and Del Shannon. Since 1996 Mike has been a full time member of the Rock and Roll Hall of Fame inductee band, The Lovin’ Spoonful!

Good day! The dummer of ‘66 was a fruitful year for summertime songs. ‘Daydream’ by the Lovin’ Spoonful and ‘Sunny Afternoon’ by the Kinks dominated the airwaves in England. Paul went to John’s house on a sunny day and wrote this classic, ‘Good Day Sunshine’.Billy and Jay talk about the Beatles desire to make an American sounding album in Revolver, Jay dives into George Martin’s use of the varispeed technique and Billy reveals his thoughts on Rolling Stone magazine’s top 500. And of course, Billy and Jay offer up their unique perspective on playing this one live!Do you love this song as much as they do? It burns their feet as they touch the ground!www.billymcguigan.com/beatlessongpodcast

The latter portion of the sixties was a gymnasium of live venues which permeated sounds of acoustic instruments like Fritz Richmond's washtub base or Paul Harris' ivory for the evening. An even dozen sophisticated white musicians trying to play authentic roots music with their mentors. Through these live venues you saw the visceral qualities of Tim Hardin, Sivuca, Odetta and my guest all in one week. The differentiation the non conformity in a non violent way all the while playing music that was made live and not manufactured. My guest today was inducted into the rock and roll hall of fame at the turn of the century but he is more roll than rock. Sure he appreciated Beatle mania and some of the world culture they brought to the states but my guest wanted to plant the American flag in the heart of the country with a blending of Native American, folk, classical blue ridge mountains cooking burning instrumentals and singing his way out of prison in some back road Georgia town looking for Doc Watson or a Lovin Spoonful of the Tarzana Kid. He has been able to maintain and stay true to his art which can be hard in the " biz." He is an old folkie like Dave Van RONK and a conveyer of authenticity like Bob Dylan. He cares about community- he lives in an artist enclave that sells nostalgia t-shirts but still has a freshness from the Catskills, near the Berkshires because your a big boy now. My guest is playing Friday November 17th at the Musical Instrument Museum in Phoenix and the show sold so fast they added the 18th as well. John Sebastian welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Dave Pearlman has been playing pedal steel and guitar since 1968 and has performed with such notable artists as Dan Fogelberg, Phil Everly, Bill Medley, The Lovin’ Spoonful, Chuck Berry, Hoyt Axton, REO Speedwagon, Bobby Womack, Leslie Gore, Pat Boone, Michelle Shocked, Joe Walsh, Richie Furay, Al Jardine, Jesse Colin Young, Albert Lee, Terry Reid, and many others as well as having been recorded on many movie and television soundtracks and commercials. Dave ran a successful recording studio for many years and was given an award for engineering on a Grammy winning album as well as four Gold Albums and one Platinum Album. Dave now owns and operates Pearlman Microphones where he hand builds custom microphones for some of the top artists and studios in the world.www.pearlmanmicrophones.comwww.rotundrascal.comhttps://www.facebook.com/pearlmanmics/

Beat the summer heat with this refreshing episode of Cover Me. We talk about The Lovin' Spoonful's "Summer in the City." Stick around for the bonus segment to find out which is better: summer days or summer nights. Covers by; B.B. King, Quincy Jones, Tea, Butthole Surfers, Styx, Manfred Mann's Earth Band, Eels, Sandy Sasso. Spotify playlist here

It's summer in the city. It's not your typical Lovin Spoonful summer, it's a freaking Covid summer, so Grown Ass Men decided to dig into one of our fave topics; The Convincing. This is where we convince each other that you must check out this book. This time is different though. We decided to do a musical "convincing" so we called upon honorary GAM and fantastic musician Sam Mastandrea to join us. We chat guilty pleasures, Prince, Hall and Oates, Jefferson Airplane and the great year 1977! We also send a shout out to recently departed genius inker of Marvel's greatest, Joe Sinnott. You don't want to miss this one. Original music by Adam Bernstein

This week, after a short tribute to 1966 Left Banke: brand new Beths, Doves, Cut Worms, David Newtown, Wolfhounds, and Toots & the Maytals, plus The Who, Lovin’ Spoonful, Everly Brothers, Charlie... Real Punk Radio podcast Network brings you the best in Punk, Rock, Underground Music around! From Classic Oi!, Psychobilly and Hardcore to some Classic Rock n Roll and 90's indie Alt Rock greatness!! With Tons of Live DJ's that like to Talk Music From Garage Rock, to Ska.. We are True MUSIC GEEKS!

Ladies and Gentlemen, it's time for some more stupid with a NEW episode of KFWF Radio! We got Trivia where the songs you hear have some sort of connection to the answer, with Questions powered by Sunset Trivia, featuring music from Duran Duran, The Lovin' Spoonful, and The Presidents of the United States of America plus more!! Along with Weird News, we have Personal Passionate Storytime where I prove EVERYTHING happens for a reason. We top it off by Drafting Guests for a Dinner Party... Now up at blogtalkradio!! And available tomorrow where you get your podcasts!! https://abc7.com/laguna-beach-wedding-video-caught-on-camera/6289934/ https://www.valottery.com/playertools/latestwinners https://www.odditycentral.com/news/author-of-book-on-mushrooms-lets-mushrooms-eat-his-book-then-eats-mushrooms.html

This week, after a tiny 1966 The Who slice: brand new Joe Pernice, Doves, Secret Shine, Tobin Sprout, Beths, and Willie Nelson, plus Lovin’ Spoonful, Louis Armstrong, Nancy Sinatra, Isley Brothers,... Real Punk Radio podcast Network brings you the best in Punk, Rock, Underground Music around! From Classic Oi!, Psychobilly and Hardcore to some Classic Rock n Roll and 90's indie Alt Rock greatness!! With Tons of Live DJ's that like to Talk Music From Garage Rock, to Ska.. We are True MUSIC GEEKS!

Uur 1 1. Cry me a river – Dinah Washington 2. Sunshine on my shoulders – John Denver 3. Kompliziertes Innenleben – Dota & Konstantin Wecker 4. Zin in sleur met jou - Claudia de Breij 5. Rain on the roof – Lovin’ Spoonful 6. The most beautiful thing – Bruno Major 7. De vondeling van Ameland – Boudewijn de Groot 8. The cure – The Watkins Family Hour 9. Je me suis fait tout petit – Georges Brassens 10. Il n’y a pas d’amour heureux – Francoise Hardy 11. The sailor – Gretchen Peters 12. Adiemus – Adiemus 13. Geen van allen zorgen – Eleonor & Gerry de Mol 14. The wind – Cat Stevens 15. Ave Maria – Sharon & Slava Grigoryan Uur 2 1. Rainy day lover – Tony Joe White 2. In the middle of the house – Rusty Draper 3. Geweldig bestaan – Clean Pete 4. Cucurrucucu paloma – Caetano Veloso 5. Yellow moon – Neville Brothers 6. Song for Sam Cooke – Dion & Paul Simon 7. Loflied op de deux cheveaux – Arno van der Heyden 8. Comme au cinema – Clou 9. I got lost in his arms – Reba McEntire 10. I got the sun in the morning – Mel Tormé & Artie Shaw 11. Wannabe – Scott Bradley’s Postmodern Jukebox 12. Haus am See – Peter Fox 13. 1 Minuutje – Cherry 14. Phoenix – Gregory Porter

Your Weekly Dose show #170 opens with Do You Believe In Magic by The Lovin Spoonful in honor of our guest. First thing we do is let you know that we have until May 29th to get Mark & Brian into the Radio Hall of Fame - the we talk about the men & women in our families who have served in the military.  Then we pay tribute to the late Fred Willard and Steve tells us about working with him. Next we talk with a wonderful and amazing magician Mr. Franz Harary !  We talk about his beginnings in Michigan, his time with Michael Jackson as well as other artists, his philosophy on magic but most importantly - his time with Mark and Brian and working with them on their tv show.  LINKS:  The Lovin Spoonful Music      Franz Harary Website     Franz on Facebook                      Franz Interview with Chipper Lowe              

Your Weekly Dose show #170 opens with Do You Believe In Magic by The Lovin Spoonful in honor of our guest. First thing we do is let you know that we have until May 29th to get Mark & Brian into the Radio Hall of Fame - the we talk about the men & women in our families who have served in the military.  Then we pay tribute to the late Fred Willard and Steve tells us about working with him. Next we talk with a wonderful and amazing magician Mr. Franz Harary !  We talk about his beginnings in Michigan, his time with Michael Jackson as well as other artists, his philosophy on magic but most importantly - his time with Mark and Brian and working with them on their tv show.  LINKS:  The Lovin Spoonful Music      Franz Harary Website     Franz on Facebook                      Franz Interview with Chipper Lowe              

Today's program features tuneage from (not in order of appearance) Little Junior Parker, The Soft Machine, Simon & Garfunkel, Bonnie Raitt, David Bowie, Nilsson, Orleans, Beach Boys, Trevor Gordon Hall, The Monkees, Bob Dylan, Crosby Stills & Nash, Badfinger, Youngbloods, Kinks, Billy Joel, Dave Clark Five, Blood Sweat & Tears, Faces, Neil Young, Bob Welch, Otis Redding, Spirit, Cream, Beatles, King Harvest and The Lovin' Spoonful.

Jug bands got their name from using instruments that were either homemade or household items such as a jug. Beginnings in the South in the 19th century, with origins in Louisville, KY, they were made up predominately of African-American musicians and were in their heyday from the 1890s to the Great Depression. Playing a mixture of blues, ragtime, and jazz, jug bands were some of the first musicians to record and a key contributor to the evolution of blues and early rock and roll. The folk revival in the 60's launched a second wave of jug-band music and it continues to exist and evolve today. On this WoodSongs broadcast, we'll be celebrating the music and history of jug bands with musicians from across the country. JIM KWESKIN is a folk music legend and founder of the legendary 1960s Jim Kweskin Jug Band which successfully transformed the sounds of pre-World War II rural music into a springboard for their good-humored performances. Their imitators were legion, including The Grateful Dead, Nitty Gritty Dirt Band, the Lovin’ Spoonful and more. These days Jim is best known as a singer and bandleader, but he also created one of the bedrock guitar styles of the folk revival. JERRON “BLIND BOY” PAXTON transforms traditional jazz, blues, folk, and country into the here and now. Hailing from NYC, his sound is influenced by the likes of Fats Waller and "Blind" Lemon Jefferson. According to The Wall Street Journal, Paxton is "virtually the only music-maker of his generation—playing guitar, banjo, piano and violin, among other implements—to fully assimilate the blues idiom of the 1920s and ‘30s." THE STEEL CITY JUG SLAMMERS made a name for themselves in Birmingham, AL with a new album, extensive touring and the band's recent induction into the Jug Band Hall of Fame. WoodSongs Kids: The Wallace Sisters are three harmozing siblings from Lexington, Kentucky.

Today's program features tuneage from (not in order of appearance) Roxy Music, Bob James, Supertramp, Phil Ochs, Joe Satriani, Grateful Dead, Jeff Beck, The Jive Five, Rick Nelson, Eagles, Jimi Hendrix Experience, Youngblood, Miles Davis, Cream, Elton John, Mark-Almond Band, Moody Blues, Radiohead, The Doors, Buffalo Springfield, Leslie West, Pink Floyd, Beatles, Spin Doctors and Lovin' Spoonful.

Author and economist Andrew Wagner’s new book, The Economics of Online Gaming, shares how economic decisions get made by players of online games. We discuss how reputations and player behaviors impact success in the game. For instance, a very positive reputation could lead other players to work with you, but it also could lead them to take advantage of you. Andrew discovered, in this game, that while a bad reputation sets people against you, it also provided unforeseen benefits in the game, economically speaking, of course. We agree with Andrew that economics can be intimidating because it is a math-heavy field. To some, economics is simply inaccessible. However, we all love the drama found in video games, so Andrew combined drama with economics in his book. Also, if you’ve not checked out our new podcast channel, Weekly Grooves, please do so. Each weekly episode is short-commute ready (no more than 15 minutes long) and brings behavioral insights to the week’s headlines.  © 2020 Behavioral Grooves Kurt Nelson, PhD: @WhatMotivates Tim Houlihan: @THoulihan   Links Andrew Wagner: https://www.linkedin.com/in/atwagner/ The Economics of Online Gaming:  https://www.businessexpertpress.com/books/the-economics-of-online-gaming-a-players-introduction-to-economic-thinking/ Eternal Lands: https://en.wikipedia.org/wiki/Eternal_Lands PacMan: https://en.wikipedia.org/wiki/Pac-Man Guide to Common Biases and Heuristics: https://docs.google.com/document/d/1XHpBr0VFcaT8wIUpr-9zMIb79dFMgOVFRxIZRybiftI/edit# Ponzi Scheme: https://en.wikipedia.org/wiki/Ponzi_scheme Tom Petters: https://en.wikipedia.org/wiki/Tom_Petters Bernie Madoff: https://en.wikipedia.org/wiki/Bernie_Madoff Multilevel Marketing: https://en.wikipedia.org/wiki/Multi-level_marketing Economies of Scale: https://en.wikipedia.org/wiki/Economies_of_scale Reputation Capital: https://en.wikipedia.org/wiki/Reputation_capital Comcast: https://en.wikipedia.org/wiki/Comcast Risk Tolerance: https://en.wikipedia.org/wiki/Risk_aversion Ethics: https://en.wikipedia.org/wiki/Ethics Jeff Kreisler: https://www.harpercollinsspeakersbureau.com/speaker/jeff-kreisler/ Alex Azar: https://en.wikipedia.org/wiki/Alex_Azar Boeing 737Max: https://en.wikipedia.org/wiki/Boeing_737_MAX FAA: https://en.wikipedia.org/wiki/Federal_Aviation_Administration Dan Ariely: https://en.wikipedia.org/wiki/Dan_Ariely Napster: https://en.wikipedia.org/wiki/Napster Welcome Back Kotter: https://en.wikipedia.org/wiki/Welcome_Back,_Kotter Weekly Grooves: https://weeklygrooves.podbean.com/   Musical Links Staind: https://en.wikipedia.org/wiki/Staind The Fray: https://en.wikipedia.org/wiki/The_Fray Cold Play: https://en.wikipedia.org/wiki/Coldplay Fuel: https://en.wikipedia.org/wiki/Fuel_(band) Green Day: https://en.wikipedia.org/wiki/Green_Day The Rembrandts: https://en.wikipedia.org/wiki/The_Rembrandts “I’ll Be There For You” Theme Song: https://en.wikipedia.org/wiki/I%27ll_Be_There_for_You_(The_Rembrandts_song) John Sebastian: https://en.wikipedia.org/wiki/John_Sebastian “Welcome Back” Theme Song: https://en.wikipedia.org/wiki/Welcome_Back_(John_Sebastian_song) The Lovin’ Spoonful: https://en.wikipedia.org/wiki/The_Lovin%27_Spoonful

The proprietress of a bakery laments a mother's forgetfulness.

VE 179 Summer Solstice Miles Davis: Summertime The Band: Time To Kill XTC: Season Cycle Ray La Montagne: For The Summer B52s: June Bug The Kinks: Wonderboy Love: The Good Humor Man Lovin Spoonful: Rain On the Roof Small Faces: Itchycoo Park Tony Bennett: Lazy Afternoon Pink Floyd: Grantchester Meadows Wilco: Sky Blue Sky Oasis: Don't Look Back In Anger Thin Lizzy: The Boys Are Back In Town Today on the VE--celebrating the summer solstice with songs to roll out the season. I'm PC and this is the VE: Miles Davis: Summertime The Band: Time To Kill XTC: Season Cycle Happy Sumer Solstice from the VE. "Season Cycle" came from XTC's album Skylarking. That record, and the one before it, Stage Fright by the Band were produced by Todd Rundgren, some 16 years apart. Rick Danko's song " Time To Kill' captures the easy free feeling of early summer with many sweet days ahead---- God Willing And The Creek DOn't Rise...that's the title of Ray La Montagne's 2009 LP featuring the song "For The Summer' Ray La Montagne: For The Summer B52s: June Bug "Cosmic Thing" was one of the great LP comeback stories..for The B52's...from it, "June Bug." Summer Solstice Celebration. spining some records from the 60s that havent lost innocence, or freshness. As the Kinks sing, "everybody's looking for the sun...." The Kinks: Wonderboy Love: The Good Humor Man Lovin Spoonful: Rain On the Roof A couple of American bands--Love and Lovin Spoonful...sandwiched in between British legends The Kinks...and this summer essential by Small Faces.... Small Faces: Itchycoo Park The VE Summer Solstice celebration continues with a couple of great word-picture songs, by artists who come from far corners of the galaxy..but still places where summer comes... Tony Bennett: Lazy Afternoon Pink Floyd: Grantchester Meadows As dissimilar as Pink Floyd and Tony Bennett are, they seem to be on the same page when it comes to summer daydreaming. From Ummagumma, early Floyd and "Grantchester Meadows" fly-swat and all...and from an early June night at Carnegie hall in 1962, Tony Bennett in his prime, with the tulip trees a bloomin and the beetle bugs a zoomin on a Lazy Afternoon. Summer is a state of min dtoo. If you're havin gtrouble getting into it, take refuge in these songs by Wilco and then Oasis... Wilco: Sky Blue Sky Oasis: Don't Look Back In Anger Oasis, from the LP with the summer tite What's The Story Morning Glory..and Wilco with the title cut of 2008's Sky Blue Sky. Finally on the VE...if all we've heard hasn't convinced you that it won't be long till summer comes--this one will do it. Thin Lizzy: The Boys Are Back In Town And that's the VE...Thin Lizzy makes it official...summer's here and the time is right....to download some VE shows you may have missed in the PRN archives and on demand at rtds.ca. Please spread the word around via facebook, follow me on twitter, I'm PC

EPISODE -5! Special Guest Jake Wendt: Illegitimate son of actor George Wendt and Bigfoot expert...a gaggle of new sponsors, a mauling, breaking news, a sprained ankle and much much more! (With Chris Gersbeck). Songs: "You Didn't Have to Be So Nice" - The Lovin Spoonful "The Porpoise Song"- The Monkees